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Afrobeat 727 Items

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V.A. - Mr Bongo Record Club Volume 3
V.A.
Mr Bongo Record Club Volume 3
2LP | 2019 | EU | Original (Mr Bongo)
18,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
HHV congratulates Mr Bongo for 30 years of sublime reissues and outstanding music. Until the 22nd of August, all Mr Bongo items are available at a special birthday celebration price.

Volume three in the Mr Bongo Record club series. Another showcase of recent vinyl finds and favourites from our DJ sets and radio shows. This is an extra special one however, as it lands in 2019, the year that we celebrate 30 years since it all began way back in 1989.
In celebration of the 30 years of Mr Bongo, 2019 will see a host of exciting events and even more releases. We take over Brighton Dome on the opening weekend of the Brighton Festival in May, an in-store takeover at Rough Trade East, in July a week long ‘Album Club’ at Spiritland, more at RAPPCATS in LA, record fairs in Utrecht and New York, alongside the digging (and no doubt surfing!) trips to Brazil, India, Australia, Portugal and France…
We’re releasing brand new music from punk-reggae superstars, The Skints; the previously undiscovered 25-year old master composer & arranger, Kit Sebastian; and crossover UK hip hop live show dons, Jungle Brown, this year.
Compiled by David Buttle and Gareth Stephens, assisted by Graham Luckhurst and Gary Johnson.
Fela Kuti Vs. De La Soul - Fela Soul Black Vinyl Editon
Fela Kuti Vs. De La Soul
Fela Soul Black Vinyl Editon
LP | 2015 | US | Original (Fela Soul)
19,99 €*
Release:2015 / US – Original
Genre:Hip Hop, Organic Grooves, Electronic / Dance
The classic is back! Limited edition for Record Store Day 2015! Gummy Soul's Amerigo Gazaway mashes up Afrobeat legend Fela Kuti with acapellas from De La Soul to killer effect! A fantasic journey into the "world of afrobeat rhythms, funky horn riffs & classic hip-hop gems". Bonus track added, now on colored vinyl in a full color picture sleeve!
Kokoroko - Kokoroko
Àbáse - Invocation
Àbáse
Invocation
LP | 2019 | EU | Original (Cosmic Compositions / HHV)
18,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
After gaining support from the likes of Gilles Peterson, Soulection, Nabihah Iqbal or KEXP and appearing for an energetic live set at Thris Tian’s Global Roots radio show on Worldwide FM, Cosmic Compositions is proud to present Budapest born Berlin based keyboard player and producer Àbáse's long anticipated debut EP, “Invocation”.

Invocation is a collection of seven songs recorded during a two year period in different locations, capturing Àbáse collaborating with some of the most talented musicians from the buzzing Budapest music scene with special guest performers from Africa and Brazil.
Manu Dibango - African Voodoo
Manu Dibango
African Voodoo
LP | 1971 | EU | Reissue (Hot Casa)
26,99 €*
Release:1971 / EU – Reissue
Genre:Organic Grooves
Fantastic and rare album by Manu Dibango, the Afro Soul Maestro!
These files were recorded in 1971 at Pathé-Marconi studio (Boulogne Billancourt) for professional sound illustration intended for the cinema, television and advertising. The jazzman experimenting with all genres was then beginning to convert solely to what soon to be called “Rare Groove” somewhere between Soul, Jazz and Afro-Funk, with a hint of Latin clave.
In 2019, these tunes have not aged and the sound can be considered as “Huge” by many crate-diggers. These recordings were not supposed to reach the club or radio audience, it was more free sessions, a moment during they can open their imagination and test their “Afro something”, like Manu Dibango call it. Theses recording sessions included the best of the french soul scene at this time, Yvan Julien (Trumpet), Slim Pezin (Guitar), Jacques Bolognesi (Trombone), Lucien Dobat (Drums), Emile Boza (Percussions, Manfred (Bass) and the conductor himself at the vibraphone, marimba, saxophone, organ ...
This album is a wonderful return to the future and should satisfy the need of the Afro-Soul aficionados! We're very happy to celebrate the 86th anniversary of the best French musician in history with one of his best recording reissue!
Ofege - Higher Plane Breeze HHV Exclusive Green Vinyl Edition
Ofege
Higher Plane Breeze HHV Exclusive Green Vinyl Edition
LP | 1977 | US | Reissue (Tidal Waves Music)
28,99 €*
Release:1977 / US – Reissue
Genre:Organic Grooves
Highly acclaimed 1977 Nigerian psychedelic Afrobeat classic /// First vinyl reissue since its original release in 1977 on Polydor Nigeria /// Comes with insert containing EXCLUSIVE liner notes by founding member Melvin Ukachi /// 180g vinyl edition /// HHV Exclusive Colored Vinyl Edition of 96 copies

Ofege was formed in the early 1970s by a bunch of teenagers at the St.Gregory’s College in Lagos Nigeria. They were largely influenced by the guitar solos of Carlos Santana, Jeff Beck & Jimmy Page while closer to home, they were influenced by the music of ‘BLO’ (Berkley Jones, Laolu Akins and Mike Odumosu), ‘Monomono’ (led by Joni Haastrup), The Funkees, and Ofo The Black Company. Due to their vibrant combo of sweet harmonies, hooks & fuzz, Ofege would become one of the most legendary Nigerian groups of all time, with expressive sales and national stardom. At the turn of the century (and because of tracks appearing on various psychedelic music compilations) Ofege would receive international acknowledgment for being the first of their kind and the ultimate West-African psychedelic funk band! Their first album (Try and Love - 1973) was recorded while the band members were still in high school (average age of 16). It took some years before other albums saw the light since some band members still had to finish school. Further astonishing recordings include 'The Last of The Origins’ (1976), ‘ Higher Plane Breeze’ (1977) and ‘How Do You Feel’ (1978). ‘Higher Plane Breeze’ (released in 1977 on Polydor Nigeria) is Ofege’s third album and it’s a STRONG one, combining funk and disco influences with Afrobeat and heavy rock guitars.
The album provides one of the Nigerian scene’s most iconic images with its cover shot showing one member squatting amongst his bandmates, middle fingers raised high and proud toward the camera.
Tidal Waves Music now proudly presents the first reissue of this landmark Nigerian album.
This RARE classic (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited vinyl edition complete with the original artwork and exclusive liner notes/pictures provided by Ofege’s founding member ‘Melvin Ukachi’
who also supervised this reissue.
Free Youth - We Can Move
Free Youth
We Can Move
12" | 1985 | EU | Reissue (Soundway)
14,99 €*
Release:1985 / EU – Reissue
Genre:Organic Grooves
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.
Mauskovic Dance Band, The - The Mauskovic Dance Band
Mauskovic Dance Band, The
The Mauskovic Dance Band
LP | 2019 | EU | Original (Soundway)
19,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
Soundway Records presents the eponymous debut LP from in-demand Amsterdam five piece The Mauskovic Dance Band – fusing no-wave dance punk, Afro-Caribbean rhythms and space disco in a “controlled explosion” (The Quietus).
Entirely self-produced, the band has reiterated their favourite elements of the 70s and 80s legacy of the Afro-Latin psychedelic music of Colombia and Peru, interpreting it through the context of modern day Amsterdam. The output is a lo-fi No Wave groove all its own - rooted in a deep love of champeta, Palenque, psychedelic cumbia, chichi, classic afrobeat and picó soundsystem culture.
Since the release of their “Down In The Basement” EP on Soundway Records in early 2018, the band have found themselves on a hectic European touring schedule – not to mention being involved in other side projects. Following stints with Turkish psychedelic folk rock group Altin Gün, and touring with the re-formed 70s Zamrock outfit W.I.T.C.H., Nic Mauskovic also teamed up with Dutch neo-psychedelic artist Jacco Gardner to form the “cinematic Balearic disco” duo of Bruxas (released by Dutch institution Dekmantel) – and together, they mixed The Mauskovic Dance Band debut album in Lisbon.
Lead single Space Drum Machine encapsulates the band’s prototypical brand of busy rhythmic patterns interwoven with insistent synth stabs and vibrant disco toms, layered with an elastic guitar riff drawing inspiration from Kenyan kikuyu and benga styles. High-pitched vocals describe being on a flight together and inciting each other to press a button of unknown consequence with “push it, push it” - and push it they do, at breakneck pace. And of course, the undeniable influence of Amsterdam’s hotbed of underground dance producers shines through as it does on all tracks - with the vintage psychedelic swirl of synthesiser, lo-fi drum machines and tape recording.
Bob Ohiri & His Uhuru Sounds - Uhuru Aiye
Bob Ohiri & His Uhuru Sounds
Uhuru Aiye
LP | 1977 | EU | Reissue (Superfly)
25,99 €*
Release:1977 / EU – Reissue
Genre:Organic Grooves
Preorder 27.09.2019
One copy per customer!

We’re proud to introduce the new Superfly reissue of hardcore nigerian psychedelic Juju Funk recorded in the Acorn studios in Oxford, UK in 1977. If you are into the intense, raw, hypnotic funk sounds then this is for you. Check the funky anthem ‘Africa Is Free For Us' but the full album is a blast in the genre. As usual, beautiful quality repress with paste on covers made in Japan, Obi and 180grs vinyl, limited to 1000 copies only!
Ikebe Shakedown - Kings Left Behind Black Vinyl Edition
Ikebe Shakedown
Kings Left Behind Black Vinyl Edition
LP | 2019 | US | Original (Colemine)
22,99 €*
Release:2019 / US – Original
Genre:Organic Grooves
Ten years ago, Ikebe Shakedown began pushing the boundaries of instrumental music. Each new track and live set has sent them deeper into combining the primal elements of ’70s soul, raw psychedelic style, and cinematic Western soundtracks with powerful grooves and soaring melodies. Now, with their new release, Kings Left Behind (Colemine Records), the band is giving listeners more mystery and majesty than ever before. The album features the entire group collaborating to produce tracks that deliver punches right to the gut, even as dreamy guitars and lush horn melodies and string arrangements capture the imagination.

The album was recorded by Ikebe's bassist, Vince Chiarito, at Hive Mind Recording. Opened with Ikebe's saxophonist, Mike Buckley, and another collaborator in 2017, Hive Mind has become a home base for the band, leading to more experimentation with the textures and sounds of a genre they define as Instrumental Soul.
Cranes, The - What's Love / Joy
Cranes, The
What's Love / Joy
7" | 1974 | EU | Reissue (Afro7)
10,99 €*
Release:1974 / EU – Reissue
Genre:Organic Grooves
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.
V.A. - Alefa Madagascar (1974-1984)
V.A.
Alefa Madagascar (1974-1984)
2LP | 2019 | EU | Original (Strut)
25,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
Strut continues its essential compilation series of Indian Ocean sounds with 'Alefa Madagascar', the first compilation to document the unique culture of salegy, soukous and soul on the island during the '70s and '80s.
'Alefa Madagascar' showcases the rich variety of sounds during this heyday of Malagasy music: Roger Georges' 'Mama' and Jean Kely et Basth's 'Andosy Mora' bring the raw energy of salegy, influential band Los Matadores drop military drums and Hammond soul in the classic 'Andeha Hanarato'; Mahaleo's 'Izahay Mpamita' showcases the band's powerful folk sound, a crucial voice emerging from the Rotaka farmer and student protests of 1972, while Terak'Anosy Group work around a stomping Congolese guitar groove. The era paved the way for many of the household names of Malagasy music today including Jaojoby, D'Gary and Lego.
V.A. - Esa Presents Amandla: Music To The People
V.A.
Esa Presents Amandla: Music To The People
2LP | 2019 | EU | Original (Soundway)
24,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves, Electronic / Dance
In September, Soundway Records will release its first compilation of 2019: Esa Presents Amandla: Music To The People.
Growing up in Cape Town, South Africa, during the last days of Apartheid, Esa recalls the immense power that music had in resisting oppression and division. “Amandla, Awethu”, which literally means “the power is ours”, was an ubiquitous chant echoing throughout the politically charged atmosphere of the time – a call to unite, and a call from which this release derives not only its title, but its intention as well.
“Music was a crucial way of bringing people and communities together”, reflects Esa, “and it’s what I hope to achieve with this compilation, too”.
For Esa Williams is not only a musical polymath but also passionate about connecting people through music – be it as a skilled DJ, an educator in production, a band leader reigniting the legendary Ata Kak band from Ghana, or a collaborator with the likes of Tanzanian artist Mim Suleiman. A firm favourite on the DJ circuit, he held a monthly residency at Phonox London for over 6 months - bringing guests such as Nu Guinea to Brixton audiences - as well as delivering memorable sets at Dekmantel, Atlas Festival, Boiler Room and more.
The last few years have seen a recent surge in interest in South African music from the 80s and 90s, including bubblegum, which was recently showcased on Soundway’s critically acclaimed 2018 compilation Gumba Fire: Bubblegum Soul & Synth Boogie in 1980s South Africa, put together by DJ Okapi. It was only natural that the label looked to delve deeper into the country’s rich musical legacy and tap another of its esteemed ambassadors for the role of compiler.
The result is a rainbow of complementary electronic styles hailing from not only South Africa but further afield, including zouk from Brazil and the French Antilles, as well as Afro-futurism. Together, they form a comprehensive picture that connects the dots of Esa’s musical journey – from growing up in South Africa, to artists he has encountered in his worldwide travels who have helped develop his identity as a musician.
Ofege - Higher Plane Breeze Black Vinyl Edition
Ofege
Higher Plane Breeze Black Vinyl Edition
LP | 1977 | US | Reissue (Tidal Waves Music)
32,99 €*
Release:1977 / US – Reissue
Genre:Organic Grooves
Highly acclaimed 1977 Nigerian psychedelic Afrobeat classic /// First vinyl reissue since its original release in 1977 on Polydor Nigeria /// Comes with insert containing EXCLUSIVE liner notes by founding member Melvin Ukachi /// 180g vinyl edition /// Black Vinyl Edition of 500 copies

Ofege was formed in the early 1970s by a bunch of teenagers at the St.Gregory’s College in Lagos Nigeria. They were largely influenced by the guitar solos of Carlos Santana, Jeff Beck & Jimmy Page while closer to home, they were influenced by the music of ‘BLO’ (Berkley Jones, Laolu Akins and Mike Odumosu), ‘Monomono’ (led by Joni Haastrup), The Funkees, and Ofo The Black Company. Due to their vibrant combo of sweet harmonies, hooks & fuzz, Ofege would become one of the most legendary Nigerian groups of all time, with expressive sales and national stardom. At the turn of the century (and because of tracks appearing on various psychedelic music compilations) Ofege would receive international acknowledgment for being the first of their kind and the ultimate West-African psychedelic funk band! Their first album (Try and Love - 1973) was recorded while the band members were still in high school (average age of 16). It took some years before other albums saw the light since some band members still had to finish school. Further astonishing recordings include 'The Last of The Origins’ (1976), ‘ Higher Plane Breeze’ (1977) and ‘How Do You Feel’ (1978). ‘Higher Plane Breeze’ (released in 1977 on Polydor Nigeria) is Ofege’s third album and it’s a STRONG one, combining funk and disco influences with Afrobeat and heavy rock guitars.
The album provides one of the Nigerian scene’s most iconic images with its cover shot showing one member squatting amongst his bandmates, middle fingers raised high and proud toward the camera.
Tidal Waves Music now proudly presents the first reissue of this landmark Nigerian album.
This RARE classic (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited vinyl edition complete with the original artwork and exclusive liner notes/pictures provided by Ofege’s founding member ‘Melvin Ukachi’
who also supervised this reissue.
Ebo Taylor Jnr & Wuta Wazutu - Gotta Take It Cool
Ebo Taylor Jnr & Wuta Wazutu
Gotta Take It Cool
LP | 1978 | EU | Reissue (Mr Bongo)
21,99 €*
Release:1978 / EU – Reissue
Genre:Organic Grooves
Tough, mid-tempo Ghanaian funk & Highlife grooves from Ebo Taylor Junior, son of the mighty Ebo Taylor.
Originally released in 1978; now extremely difficult and expensive to find in its original form.
Today Ebo Taylor Jnr plays keys in his fathers band that continues to tour when he is able to.
Official Mr Bongo reissue. Licensed from Ebo Taylor Jnr.
V.A. - Mr Bongo Record Club Volume 2
V.A.
Mr Bongo Record Club Volume 2
2LP | 2017 | EU | Original (Mr Bongo)
18,99 €*
Release:2017 / EU – Original
Genre:Organic Grooves
HHV congratulates Mr Bongo for 30 years of sublime reissues and outstanding music. Until the 22nd of August, all Mr Bongo items are available at a special birthday celebration price.

This instalment follows on from our acclaimed ‘Volume One’ – Lauren Laverne’s ‘Compilation Of The Week’, supported by the likes of Disclosure, Jeremy Underground, Horsemeat Disco, Hunee and Laurent Garnier. ‘Volume Two’ picks up where the last one left off — with a touch more soul and disco — records we’ve been spinning in our DJ sets and on the radio show of the same name, that inspired this series.

Compiled by David ‘Mr Bongo’ Buttle and Gareth Stephens, plus a few personal favourites from Gary Johnson, Ville Marttila and Graham Luckhurst.

TRACKLIST, VINYL 2-LP: A1. Elbernita ‘twinkie’ Clark – Awake O Zion (full length, original version) / A2. Dee Edwards – Put Your Love On The Line / A3. Anubis – Ecology / B1. Guy Cuevas – Ebony Game / B2. Kiru Stars (Julius Kang’ethe) – Family Planning / B3. Teaspoon & The Waves – Oh Yeh Soweto / C1. Leny Andrade – Não Adianta / C2. Rosa Maria – Samba Maneiro / C3. Tom & Dito – Obrigado Corcovado / C4. Inezita Barroso – Maracatu Elegante / C5. Joao Diaz – Capoeira / C6. The Equatics – Merry Go Round / D1. Elias Rahbani And His Orchestra – Liza… Liza / D2. The Beaters – Harari
Sammy Massamba - Azali
Sammy Massamba
Azali
12" | 1990 | EU | Reissue (Vive La Musique)
11,99 €*
Release:1990 / EU – Reissue
Genre:Organic Grooves
Vive La Musique burst onto the scene last year with the hugely successful "Tabala Mouv". For the follow-up, they present two songs from prolific Congolese talent, Sammy Massamba, taken from his cult self-released album "1990 - Beni Soit Ton Nom". Title track "Azali" immediately hooks you in with its mysterious intro, laden with early 90s keyboards and drum machine. Sammy's funk guitar and anthemic vocal lines turn this unique composition into an infectious afro-pop masterpiece. Label founder Aroop Roy steps up with a customary edit, extending the arrangement and giving the drums and mix a modern-club touch. Sammy describes the second track, "Birika", as a mix of Congolese Rumba, Afrobeat. and Reggae. A mid-tempo bass and guitar groove form the backdrop for Sammy's powerful vocals. An exquisite rumba guitar line completes another high class composition.
K. Frimpong & His Cubano Fiestas / Ebo Taylor - Kyenkyen Bi Adi M'awu / Heaven
K. Frimpong & His Cubano Fiestas / Ebo Taylor
Kyenkyen Bi Adi M'awu / Heaven
7" | 2015 | UK | Original (Mr Bongo)
7,99 €*
Release:2015 / UK – Original
Genre:Organic Grooves
HHV congratulates Mr Bongo for 30 years of sublime reissues and outstanding music. Until the 22nd of August, all Mr Bongo items are available at a special birthday celebration price.

Ghanian musician K. Frimpong. In the 1970s, he recorded with two different bands, Vis-A-Vis and Cubano Fiestas. 'Kyenkyen Bi Adi M'awu' fuses heavy afrobeat drums and horns with a highlife guitar line and is his most well known track. Taken from the legendary 'K. Frimpong & His Cubano Fiestas' LP released in 1977 on Continental Records out of Ghana.

Licensed from Ofo brothers, a Ghanian independent. As sampled by Gnarls Barkley on his 'Storm Coming' track.

Taken from Ebo's self titled LP released on Esibons in 1977, original copies of which regularly fetches upwards of $500. Ebo still tours extensively with his incredible band, their performances come very highly recommended.
Ebo Taylor - Palaver
Ebo Taylor
Palaver
LP | 2019 | EU | Original (BBE Africa)
25,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
BBE Music unearths ‘Palaver’, a long-lost, previously unreleased 1980 album from Ghanaian guitarist and songwriter Ebo Taylor.

If Fela Kuti was the king of Nigerian Afrobeat, then Ebo Taylor, 83 and still playing hard, is the king of Ghana Funky-Highlife. No doubt whatsoever. Much of Ebo’s beautiful 70s and 80s output has been reissued, as more and more Afro music lovers are being converted to his unique pan-West African sound.

In 1980 while on a club tour of Nigeria with his regular touring band, Ebo bumped into Chief Tabansi of Tabansi Records. They agreed that Taylor would record a one-album session to be released exclusively on Tabansi. Within a few days the deal was signed, the session completed, the tapes signed off, and Ebo and his band went on their way to complete their Nigerian tour.

But for reasons that no-one (including Ebo) can now fully recall, the master tapes got shelved in a dusty backroom in Tabansi’s Onitsha HQ. Where they remained, undisturbed, unreleased, unplayed, for almost forty years.

Last year, Peter Adarkwah of BBE Music signed off on a major multi-album reissue deal with Tabansi and its affiliated labels. ‘What about unissued material, if we find any?’ Joe Tabansi, Chief’s son and current administrator of the label, casually asked.

Yes, replied Peter- but WHAT unissued material?

Upon which, Joe produces these masters. The tapes are rushed to the redoubtable Carvery vinyl remastering and pressing plant in East London, and all at BBE soon realised that they had a masterpiece on their hands. All-new material, all Ebo’s own compositions, all recorded with Ebo’s crème-de-la-crème touring and recording players, including George Amissah. Mat Hammond, George Kennedy and George Abunuah among others.

Here it is, for the first time, anywhere. Ebo Taylor’s Lost Nigeria Sessions.
Rob - Make It Fast, Make It Slow
Rob
Make It Fast, Make It Slow
LP | 2012 | UK | Original (Soundway)
19,99 €*
Release:2012 / UK – Original
Genre:Organic Grooves
ROB was an enigmatic recording artist from Ghana who cut two albums for the legendary Essiebons label in 1977. Neither of these were big domestic hits at the time and have since become prized amongst collectors in recent years. The title track from this LP was always one of the most popular on the first Soundway release Ghana Soundz and over the years we have been asked many times to re-issue the LP in it’s entirety. A stranger, slower offering than his more dancefloor funk-laden and Spartan first LP, this record sees ROB in similar territory but with the tempo switched down and the introspection turned up.

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

With religious overtones and a broody, slightly off-key atmosphere at points it’s certainly one of the stranger afro-funk records to come out of West Africa but with tracks like Loose up Yourself and Make it Fast, Make it Slow he nails it for sure.
Souljazz Orchestra, The - Chaos Theories
Souljazz Orchestra, The
Chaos Theories
LP | 2019 | EU | Original (Strut)
21,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
The Souljazz Orchestra return with a brand new studio album for our troubled times, 'Chaos Theories', released on Strut.
Always known for their uncompromising social and political messages, the Canadian collective hit harder than ever on 9 new tracks, outing the hypocrisy of modern day politics, police brutality and the everyday struggle of the working man. Led by chief songwriter and arranger Pierre Chrètien, the band continue to evolve their sound, drawing on a broad palette from their trademark Latin, Afro and Caribbean styles to some of the UK's political sounds of the early '80s, the era of The Clash, The Police, 2-Tone and frontline reggae.
Attarazat Addahabia & Faradjallah - Al Hadaoui
Attarazat Addahabia & Faradjallah
Al Hadaoui
LP | 2019 | EU | Original (Habibi Funk)
19,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
8 page vinyl size booklet & mp3 download coupon! Habibi Funk is back with another album from Casablanca. Completely unreleased album which was recorded in Morocco in 1973 by three generation family band. A unique blend of Gnawa, Funk and Rock. Traditional Moroccan music meets electronic guitars and dense layers of percussion by a band that used to run in the same circles as Fadoul (And actually wrote one of his songs).
Voilaaa - Tu Mens Devant Moi
Voilaaa
Tu Mens Devant Moi
LP | 2019 | EU | Original (Favorite)
11,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
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 two first album, On te l’avait dit, and Des Promesses.
Following to that success and pursuing the same direction combining of the festive, yet sometime futile nature of Disco, and the instinctive, deep, sometimes rough nature of African music, Voilaaa’s now presenting a new 4 tracks EP, which will be followed later this year by a new LP.
Another killer package where Patchworks teams up again with longtime partner Pat Kalla, but also with newcomers to the project, like here Ramatou Traore and Ayuune Sule, both bringing great African languages vocals to “Tu mens devant moi” and “Woman Can Do”.
Rob - Rob
Rob
Rob
LP | 1977 | EU | Reissue (Mr Bongo)
19,99 €*
Release:1977 / EU – Reissue
Genre:Organic Grooves
HHV congratulates Mr Bongo for 30 years of sublime reissues and outstanding music. Until the 22nd of August, all Mr Bongo items are available at a special birthday celebration price.

The Accra-born pianist and frontman only released a few albums in small quantities, yet two of them are among the most sought-after records from 70’s Africa. This was the first.

So what do we know? After learning his craft in Benin and playing with the likes of Orchestre Poly-Rythmo de Cotonou, ROB returned to Accra to write his own material and find a sound.
Hooked on the driving funk and raw soul of stars such as James Brown and Otis Redding, he would often imitate his heroes on his father’s piano during school holidays.
The title track sets the pace with a JBs-like rhythm, ROB almost shamanic with his sparse yet commanding vocal. The organ and wah-wah guitar spin us out before those imperious horns bring us back in.
And what better way to close this set than with ‘More’, swept up in a call and response between Rob and his backing singers as a ‘Blow Your Head’ synth flares and the brass blasts. Good times guaranteed.
As the man himself says, “Funky music is in my blood. What you hear is the coming out of my mind.” No one sounds like Rob, because there is no one like Rob.
Mauskovic Dance Band, The - Down In The Basement
Mauskovic Dance Band, The
Down In The Basement
12" | 2018 | EU | Original (Soundway)
14,99 €*
Release:2018 / EU – Original
Genre:Organic Grooves
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.
Esnard Boisdur - Mizik Bel
Esnard Boisdur
Mizik Bel
12" | 2019 | EU | Original (Favorite)
14,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
“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).
Nu Guinea - The Tony Allen Experiments - Afrobeat Makers Volume 3
Nu Guinea
The Tony Allen Experiments - Afrobeat Makers Volume 3
LP | 2016 | EU | Original (Comet)
18,99 €*
Release:2016 / EU – Original
Genre:Organic Grooves
Comet is pleased to announce the third volume of the Afrobeat Makers Series: Nu Guinea - The Tony Allen Experiments.
By re-working the original magic drum patterns from the Afrobeat master Tony Allen, Nu Guinea created a compilation of tracks which is charged by a voluminous electronic jazz-Psyche funk imprint.
For this release, Comet Records teamed up with Early Sounds Recordings, the berlin label, also home to duo Berliners Nu Guinea.
The Naples formed, Berlin-based duo, is a project that arose out of jam sessions, melting synthesizers with instruments, containing a handmade sound that is not aiming for perfection but genuineness. It can be understood as a steadily shaping form, always open for collaborations with other musicians.
They've previously collaborated with singer Wayne Snow (fellow berliner artist on Comet) for the vocal edit of Nu-World, also delivered a remix for Wayne Snow’ ʻRosie Epʼ both recently released on Tartelet Records.
Ebo Taylor & Uhuru Yenzu - Conflict
Ebo Taylor & Uhuru Yenzu
Conflict
LP | 1980 | UK | Reissue (Mr Bongo)
14,99 €*
Release:1980 / UK – Reissue
Genre:Organic Grooves
HHV congratulates Mr Bongo for 30 years of sublime reissues and outstanding music. Until the 22nd of August, all Mr Bongo items are available at a special birthday celebration price.

Nice repress on 180 gram wax!
Kalbata - Vanrock
Kalbata
Vanrock
LP | 2019 | EU | Original (Fortuna)
26,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
Fortuna boss Kalbata joins forces with five-piece band Tigris, creating a mesmerizing percussion-led album inspired by African and Caribbean traditions. Repetitive guitars, blissful synthesizers, and roaring voodoo drums set the tone across this extra-trippy, six-track journey. Techno and Balearic undertones remind us of Kalbata's wide musical spectrum, ranging from very dark to luminous tropical sunlight. Essential!
Ikebe Shakedown - Kings Left Behind HHV Exclusive Pink Vinyl Edition
Ikebe Shakedown
Kings Left Behind HHV Exclusive Pink Vinyl Edition
LP | 2019 | US | Original (Colemine)
24,99 €*
Release:2019 / US – Original
Genre:Organic Grooves
Only 1 per customer! In europe only at HHV.

Ten years ago, Ikebe Shakedown began pushing the boundaries of instrumental music. Each new track and live set has sent them deeper into combining the primal elements of ’70s soul, raw psychedelic style, and cinematic Western soundtracks with powerful grooves and soaring melodies. Now, with their new release, Kings Left Behind (Colemine Records), the band is giving listeners more mystery and majesty than ever before. The album features the entire group collaborating to produce tracks that deliver punches right to the gut, even as dreamy guitars and lush horn melodies and string arrangements capture the imagination.

The album was recorded by Ikebe's bassist, Vince Chiarito, at Hive Mind Recording. Opened with Ikebe's saxophonist, Mike Buckley, and another collaborator in 2017, Hive Mind has become a home base for the band, leading to more experimentation with the textures and sounds of a genre they define as Instrumental Soul.
Ebo Taylor & Pat Thomas - Disco Highlife Reedit Series Volume 1
Ebo Taylor & Pat Thomas
Disco Highlife Reedit Series Volume 1
12" | 2019 | EU | Original (Comet)
12,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
Comet presents the first release from its new Disco Highlife series, featuring remastered originals by Ghanaian legends Ebo Taylor & Pat Thomas and disco reedits by LeonxLeon and Leo Nanjo.
Founder of Comet Records, Eric Trosset, started working with those great heroes of West African music, back in 2010. Taking on the role of manager/publisher, Comet teamed up with Strut Records and musician/producer Ben Abarbanel Wolff to revive Ebo Taylor‘s international career with a string of album releases: Love & Death, Appia Kwa Bridge and Life Stories. In 2014, he collaborated with Pat Thomas & The Kwashibu Area Band on a new album, gathering together the old ‘pals’ (Ebo Taylor, Pat Thomas, Tony Allen) in producer Kwame Yeboah’s studio in Accra.
It is with great pleasure that Comet launches this new series. Let's make this beautiful and timeless music the soundtrack to an unforgettable summer!
On side A, comes “Enye Woa” by Pat Thomas, originally released in 1988 on Nakase Records and taken from the album Me Do Wiase. It’s killer disco cut, and as innovative a piece of highlife as it was 30 years ago. Paris-based producer LeonxLeon has been cooking up songs in his Parisian home-studio since 2013. He did a remarkable remix of Cerrone's "Funk Makossa" and more recently released his new Rokanbo EP on Cracki Records. His remix of “Enye Woa” is a classy modern disco cut with funky bass and spacey synths.
On side B is “Atwer Abroba” by Ebo Taylor, a stand out up-tempo track from the album Twer Nyame, originally released in 1978 on Philips West African Records. Tokyo-based multi-instrumentalist/producer/arranger Leo Nanjo formed the first Japanese afrobeat group, Kingdom Afrorocks. Since the band broke up in 2014, Leo has been producing and arranging music with various collaborations, such as DJ Muro, Pushim and Misia. This is a trippy afro-futurist, broken-beat reedit with highlife grooves flying to deep space.
V.A. - Daytime High EP
V.A.
Daytime High EP
12" | 2019 | EU | Original (AM)
11,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
In the beginning of the summer of 2019, AM returns with four exotic edits and reworks to dance to on grass. Solima is a pitched down lush and spatial Afro gem that will cause instant euphoria on any dance floor, followed by a faster and uplifting African jam called Ali Baba. Both have that late 80’s synthetic vibe we dig so much.On the flip there are two tracks which are constructed upon respectively an Egyptian and a Turkish sample. Badaouiah reminds of Carl Craig’s edit of Congo Man, builds up slowly and gets highly hypnotic and deep, while the second track Mustapha rolls out a quirky rhythm pattern with a hysteric Turkish clarinet sample. Comes in a disco bag, hand stamped with a new drawing by Frank Koedood.
Ofege - Higher Plane Breeze Brown Vinyl Edition
Ofege
Higher Plane Breeze Brown Vinyl Edition
LP | 1977 | US | Reissue (Tidal Waves Music)
28,99 €*
Release:1977 / US – Reissue
Genre:Organic Grooves
Highly acclaimed 1977 Nigerian psychedelic Afrobeat classic /// First vinyl reissue since its original release in 1977 on Polydor Nigeria /// Comes with insert containing EXCLUSIVE liner notes by founding member Melvin Ukachi /// 180g vinyl edition /// Brown Vinyl Edition of 200 copies

Ofege was formed in the early 1970s by a bunch of teenagers at the St.Gregory’s College in Lagos Nigeria. They were largely influenced by the guitar solos of Carlos Santana, Jeff Beck & Jimmy Page while closer to home, they were influenced by the music of ‘BLO’ (Berkley Jones, Laolu Akins and Mike Odumosu), ‘Monomono’ (led by Joni Haastrup), The Funkees, and Ofo The Black Company. Due to their vibrant combo of sweet harmonies, hooks & fuzz, Ofege would become one of the most legendary Nigerian groups of all time, with expressive sales and national stardom. At the turn of the century (and because of tracks appearing on various psychedelic music compilations) Ofege would receive international acknowledgment for being the first of their kind and the ultimate West-African psychedelic funk band! Their first album (Try and Love - 1973) was recorded while the band members were still in high school (average age of 16). It took some years before other albums saw the light since some band members still had to finish school. Further astonishing recordings include 'The Last of The Origins’ (1976), ‘ Higher Plane Breeze’ (1977) and ‘How Do You Feel’ (1978). ‘Higher Plane Breeze’ (released in 1977 on Polydor Nigeria) is Ofege’s third album and it’s a STRONG one, combining funk and disco influences with Afrobeat and heavy rock guitars.
The album provides one of the Nigerian scene’s most iconic images with its cover shot showing one member squatting amongst his bandmates, middle fingers raised high and proud toward the camera.
Tidal Waves Music now proudly presents the first reissue of this landmark Nigerian album.
This RARE classic (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited vinyl edition complete with the original artwork and exclusive liner notes/pictures provided by Ofege’s founding member ‘Melvin Ukachi’
who also supervised this reissue.
Wilfred Percussion - Untitled
Wilfred Percussion
Untitled
LP | 1983 | EU | Reissue (Libreville)
24,99 €*
Release:1983 / EU – Reissue
Genre:Organic Grooves
Born in the 1940s in Istanbul, Italian painter and percussionist Wilfred Copello had, from the onset, a predisposition for exotic sounds.
Indeed, his interest for latin music was manifest early on in his career. In 1970 he was an uncredited member of the Italian band Latins 80 who released the same year the LP Foglie Gialle All’Imbrunire which has now gained cult status.
From that period onwards, Wilfred settled in Rome where he gained an excellent reputation as a studio player; he participated in a large number of projects and albums, especially on the jazz scene with his friend Romano Mussolini (The Latin Taste, Jam Session , Soft & Swing, etc.).
But it is the music from Brazil that had the greatest impact on Wilfred. In 1974 he recorded ‘Viva Brasil’ with the group Expo 80, an album which was an ode to Brazilian music.
A few years later, at the turn of the 80s, he formed the band Wilfred Percussion. He brought with him an all-star cast of the jazz and Latin scene in Rome which included Argentinean drummer Osvaldo Mazzei and respected trumpet player Cicci Santucci.
It was actually in Cicci Santucci’s Audio Sound Studio that was recorded Wilfred Percussion’s only album.
Recorded in 1983, the album is a musical gem. Self-produced, Wilfred Percussion is composed of covers and original compositions. Covers include original titles by the unclassifiable Hermeto Pascoal as well as Milton Nascimento, and are reinterpreted here in a totally unique fashion with that distinctive Italian groove.
Wilfred Percussion is an album which allies funk to MPB with jazz undertones, introducing the listener to a singularly fresh and evocative opus.
Gigi - Illuminated Audio
Gigi
Illuminated Audio
2LP | 2019 | EU | Original (Time Capsule)
24,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves, Electronic / Dance
The incredible third release of Kay Suzuki’s Time Capsule imprint rejuvenates Bill Laswell’s dub reinterpretations of Ethiopian singer Gigi
Following reissues of Japanese fusionist Yuji Toriyama and Italian new age visionary Il Guardiano Del Faro, the third Time Capsule is a body of dub reinterpretations by celebrated producer Bill Laswell of Ethiopian singer Gigi. Curated by Tokyo record collector, music researcher and seasoned reissue supervisor Ken Hidaka, it is the first time Illuminated Audio is pressed to vinyl after its CD release in 2003.

Ejigayehu Shibabaw was born in 1974 in Chagni, northwestern Ethiopia and by pursuing a career as a singer, went against her father’s strict, traditional gender roles. As Gigi, she embraced the same musical freedom she had strived for in her personal life, incorporating the Ethiopian church, funk, hip-hop, West and South African music into her work. She first settled in Nairobi, then Addis Ababa, where she quickly established herself as one of the city’s leading singers. A move to San Francisco in 1998 led to a long and fruitful creative partnership with bassist and producer Bill Laswell.

Around the same time, Chris Blackwell had stepped away from Island Records to start the art house film company and label Palm Pictures. He took an interest in Gigi and together with Laswell, pulled together an all-star cast of musicians for her self-titled US debut album, including Herbie Hancock, Pharoah Sanders and Wayne Shorter. It won international critical acclaim, not just for its musicianship but for making Gigi a “defining voice for the Ethiopian expatriate community”, as journalist Tyran Grillo praises in his Time Capsule liner notes. From the nation-defining 1896 victory over Italian invaders to the quiet revolutionaries who wear simple shemma garments, Grillo believes the themes in Gigi make it “a shower of sunlight on her homeland for those ignorant of its struggles.”

After its success, Blackwell encouraged them to go back into the studio to rethink the album and Illuminated Audio was born. “Anyone can make a voice sound worldly”, Grillo remarks, “but rare are those who can make one sound inner-worldly.” Gigi was clear with Laswell to give her vocals a minor role “because it’s already been done.” Instead her Amharic verse is fleeting, exhaling through the textures like ghostly fragments; soaring yet muted. Yet the album is still titled under her name, an assertion by Laswell of her central role in the album’s creation. Not only was it a fully endorsed project by Gigi, but she would be present throughout its development, giving feedback on half-finished ideas as Laswell played them back in the studio. “It works perfectly”, she reflected after the album’s release. “We wanted to capture the whole spirit of each track, and Bill’s remixes create a different music language that really puts you in a pleasant place”.

This new vocabulary takes its lead from a technical approach that Laswell had been perfecting during a furtive creative period at the turn of the millennium. Much like his ambient interpretations of Miles Davis (Panthalassa, 1998), Bob Marley (Dreams of Freedom, 1997), and Carlos Santana (Divine Light, 2001), Laswell approached Illuminated Audio by returning to the original multitrack masters. Gigi wasn’t just reworked, but recomposed into an expansive lattice of instruments, submerged in a watery ambience of dub and trance undercurrents.

Sonically, this new language that Gigi refers to, is manifested by the original album’s more understated parts being pushed to the fore. Explaining his contrasting methods, Laswell saw Gigi as being “put together in a way that fits”. Contrastingly, in Illuminated Audio, “a lot of things that I featured in the remix weren’t as audible in the original.” Instrumentation laying near-dormant, deep in the mix, are brought to the fore: the acid rock guitar and Wayne Shorter’s saxophone on ‘Tew Ante Sew’, Graham Haynes’ flugelhorn on ‘Nafekeñ’, Laswell’s bass on ‘Kahn’, the melodica in Mengedegna or the floating synths and talking drums in ‘Gud Fella’.

Brought to his attention by mentor DJ Nori, Hidaka describes Illuminated Audio as a “masterful sonic exploration into ethereal ambience and dub” and made sure this reissue also contained a full remaster to give its “deep musicality” much better dynamics and density in the overall sound. Hidaka admits that Laswell's music “is sometimes so out-there, it is often misunderstood” and, indeed, to dub album non-believers this might seem like a prolific producer imposing himself on another artist’s work; eternally developing rearrangements that never quite get to its destination. But that’s missing its true power and triumph. This is more than the reissue of a remix, but “a wholly unique musical entity”, as Hidaka describes. Illuminated Audio refers to the illuminated manuscripts that comprise the major part of Ethiopian art and its new compositions stand in proud solitude as a rare body of reworks that both informs and enhances their originals.
Gyedu Blay Ambolley - Simigwa
Gyedu Blay Ambolley
Simigwa
LP | 2018 | UK | Reissue (Mr Bongo)
16,99 €*
Release:2018 / UK – Reissue
Genre:Organic Grooves
HHV congratulates Mr Bongo for 30 years of sublime reissues and outstanding music. Until the 22nd of August, all Mr Bongo items are available at a special birthday celebration price.

Legendary Ghanain album – with one of the music iconic covers ever! – that fuses Highlife, afrobeat, folk and funk. Ambolleys debut solo album originally released in 1975, written and produced with Ebo Taylor. Ambolley grew up during the peak of Highlife in Ghana and was a key figure in its fusion with soul and funk influences from the USA. He played in many bands including Houghas Extraordinaires, Meridians Of Tema, Ghana Broadcasting Band and the Uhuru Dance Band, for which he was recruited by his friend, Ebo Taylor. The group went to Nigeria in 1973 to play with Fela at his legendary Shrine spot. ‘Simigwa’ was a chance for Ambolley to release his own productions and to experiment to a certain extent. A main inspiration for this album was the work of the mighty Mr. James Brown, something that is evident from the rhythm section, horns, vocal stabs and percussion breaks throughout the record. Official Mr Bongo reissue, replica original artwork. Licensed from Essiebons.
Djeuhdjoah & Lieutenant Nicholson - El Nino / Fontaine
Djeuhdjoah & Lieutenant Nicholson
El Nino / Fontaine
7" | 2018 | EU | Original (Hot Casa)
11,99 €*
Release:2018 / EU – Original
Genre:Organic Grooves
DjeuhDjoah & Lieutenant Nicholson is a French composers and afro-soul singer’s duo. T’es qui ? is their first album, fruit of an intense collaboration during many years, on stage and in studio. They call their music as “Afropean songs”, a collection of Jazzy-Pop melodies, Afro-Soul and Funk arrangements.
They'll be back in November with a tremendous Afro-Jazz and Funky album titled Aimez ces airs. Until then, they present “El Nino”, an Afro-Funk gem about climate change, and “Fontaine”, an Afro hit with a great combination of analog take and electronic dancefloor ingredients.
After massive support from national radios and prestigious DJs such as Gilles Peterson, it could be the funky summer hit 2018!
Limited press on a deluxe vinyl designed by the artist Felix.
Shina Williams & His African Percussionists - African Dances
Shina Williams & His African Percussionists
African Dances
LP | 1979 | EU | Reissue (Mr Bongo)
17,99 €*
Release:1979 / EU – Reissue
Genre:Organic Grooves
HHV congratulates Mr Bongo for 30 years of sublime reissues and outstanding music. Until the 22nd of August, all Mr Bongo items are available at a special birthday celebration price.

First official reissue of the extremely rare full-length album by Lagos-based bandleader Shina Williams. Clean copies of the original currently sell for up to £500.
The record was born in 1979 when Shina put Biddy Wright, Fred Fisher, Saliu Alabi, Prince Bola, Tutu Shoronmu, Tunde willimas and several other decorated Nigerian musicians – who played with the likes of Fela Kuti, SJOB Movement, Sonny Okoson, King Bucknor amongst others – together to record. The result is ‘African Dances’, a timeless fusion of afrobeat, electronics, boogie and disco. Includes his most well-known song, ‘Agboju Logun’ that Williams knew was ground breaking – “I want to show the whole wide world that Africa is alive with modern musicians to reckon with anywhere,”. This album version is a different mix to the two-track 12” that came out under on Earthworks, Rough Trade in 1984.
Official Mr Bongo reissue. Replica original artwork. Licensed direct from Shina Williams.
Polyversal Souls, The - Siakwaa / Nana Agyei (Medley)
Polyversal Souls, The
Siakwaa / Nana Agyei (Medley)
7" | 2019 | UK | Original (Philophon)
9,99 €*
Release:2019 / UK – Original
Genre:Organic Grooves
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.
V.A. - Return To The Mothers' Garden (Funky Sounds 71-82)
V.A.
Return To The Mothers' Garden (Funky Sounds 71-82)
LP | 2019 | EU | Original (Africa Seven)
19,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
"For you will find, as women have found through the ages, that changing the world requires a lot of free time. Requires a lot of mobility. Requires money, and, as Virginia Woolf put it so well, 'a room of one's own,' preferably one with a key and a lock. Which means that women must be prepared to think for themselves, which means, undoubtedly, trouble with boyfriends, lovers, and husbands, which means all kinds of heartache and misery, and times when you will wonder if independence, freedom of thought, or your own work is worth it all. We must believe that it is. For the world is not good enough; we must make it better."

(cite. Alice Walker: In Search Of Our Mother's Garden, 1983)

In 2018 we introduced our first Mothers' Garden compilation on International Womens' Day. This compilation looked to shine a light on the often under-acknowledged musical contribution from female African artists. In 2019 we are back with Volume 2 presenting yet again some of Africa's most recognised female artists alongside some lesser known artists. Whilst the roster might have changed slightly, the quality of music is as funky as before and the message stays the same.

First up is the wonderful Theodora Ifudu. Another Nigerian star who made it both in music and TV, Theodora produced two studio albums with all the glitz and glamour you would expect from a New York film school graduate. "This Time Around" is the title track from her 1983 album and provides a dose of irresistible disco vocals over the top an effortless groove. Next up is fellow Nigerian Oby Onyioha with her offering "Enjoy Your Life". This laidback disco number sees Oby repeat her infectious mantra, "Enjoy Your Life" with a backing provided by well-arranged strings and horns. Nana Love comes steaming in next with her fast-paced number "Talking About Music". Love is an accomplished singer, songwriter and bandleader and was produced by her husband Reindorf Oppong. The lesser known Joy Nwosu follows with an afrobeat number from the Afrodisia records vault. Finishing the A-side is none other than Mother Africa, Miriam Makeba. Whilst on the first Mothers' Garden we showcased her song "Xica Da Silva", this time round we present one her most well known numbers "Malaika".

On the flip, the delightful Ivorian singer Nayanka Bell steps up with her 1981 song "Just A Boogie", which as the name suggests is nearly 4 minutes of pure boogie goodness. Another female-Afro legend next with Christy Essien and her second outing on Mothers' Garden. "Nobody Can Stop You" is off her 1980 album, "Give Me A Chance". Nigeria's "Lady Of Songs" always sought to fight for the women of Africa and especially artists. Her songs such as this one sought to deliver strength and help build a more tolerant and peaceful Nigeria. Another Ivorian follows the might Christy with a fast paced, synth infused throwdown "N'Ziketio". Next is Cameroonian makossa singer, Bebe Manga presenting her 1980 "Lokognolo" which demonstrates why she is considered one of the most popular makossa singers of the 1980s. Finishing of Mothers' Garden 2 is the little known Togolese singer Sissi Massila. This deep and haunting song draws the record to a close with an air of reflection amidst a beautiful lingering melancholy.
Pat Thomas & Kwashibu Area Band - Obiaa!
Pat Thomas & Kwashibu Area Band
Obiaa!
2LP | 2019 | EU | Original (Strut)
25,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
Preorder 04.10.2019
Strut is proud to announce Pat Thomas & Kwashibu Area Band’s sophomore release ‘Obiaa!’, released on 4th October 2019. The album, produced again by Kwame Yeboah and Ben Abarbanel-Wolff at Lovelite Studio’s analogue HQ in Berlin, is a deep and soulful journey into the heart of Ghana’s indigenous highlife music celebrating the timeless and iconic voice of Pat Thomas, the 72 year-old “Golden Voice of Africa”. After producing Ebo Taylor’s seminal albums ‘Love and Death’ and ‘Appia Kwa Bridge’ for Strut Records, in 2014 Ben Abarbanel-Wolff approached Kwame Yeboah, Ghana’s top contemporary instrumentalist and bandleader, to work on a new project: “We initially wanted to invite Pat back into the studio with Ebo Taylor and Tony Allen to recreate and expand on some of the vibes they had recorded together during a lost session in 1977,” Ben explains. Recorded in Accra, the result was the critically acclaimed self-titled debut album ‘Pat Thomas & Kwashibu Area Band’ in 2015.
Pat and the Kwashibu Area Band (named after Kwame’s neighbourhood in Accra) hit the road in October 2015. After a memorable performance at WOMEX in Budapest, they never looked back. The next two years took them around the world to play at major venues and festivals including Glastonbury, Roskilde, WOMAD, Sakifo, WOMADelaide, Sines and many more. “We could see there was something for everyone in our music. People of all ages, colours and trends were dancing together!’ explains Kwame, the mastermind behind the band’s unbelievable precision and killer live show.
The new album is called ‘Obiaa!’ which means ‘Everybody!’. Tracks include the modern parables ‘Onfa Nkosi Hwee’ warning against arrogance and ‘Odo Ankasa’ about the value of real love and trust as well as a great new cover of Thomas’ Afro-disco favourite ‘Yamona’. “Playing highlife around the world taught us what we had to do to move our sound forward,” continues Ben. While simultaneously looking back towards the classic days of highlife and forward to a fresh revival of the guitar band sound, this album cements Pat Thomas & Kwashibu Area Band’s position at the pinnacle of modern African music.
‘Obiaa!’ is released on all formats on 4th October The album features exclusive cover artwork by Lewis Heriz with photos by Marie Weikopf and Michelle Chiu and is mastered by Édouard Bonan at Ed-Room Studio in Paris.
Experience - Share It With You / Happiness
Experience
Share It With You / Happiness
7" | 2019 | EU | Original (The Artless Cuckoo)
11,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
Preorder 07.10.2019
Two dope Island Boogie tracks by Experience, an Afro Reggae group hailing from Germany. - Very nice steeldrumming in these tunes..
Experience’s “Share It With You” and “Happiness” can both be found on the private LP release “Oh! What A Feeling” from 1982. The group consisted of Anthony Flaverney from Trinidad, Curvin Murchant from Jamaica, Daniel Kofi Jefferson from Ghana and John Innies from Trinidad and was founded in Hamburg.
Anythony Flaverney, the lead singer on both songs, was active as songwriter and musician in Germany since the mid-1970s, most notably appearing on the Peter Herbolzheimer arranged “Caribbean Rock“ album by Malcolm's Locks (be sure to check their funk version of Bob Marley’s “Get Up Stand Up”!). Curvin Merchant, a highly respected drummer from Jamaica, settled in Germany around the same time. Before forming Experience, he was a member in several groups, including highly successful pop acts like Boney M. Later he became known as "Germany’s Grandfather of Roots Rock Reggae", among other things buildung up the "Reggae Center" in Hamburg. Flaverney and Merchant are joined by Daniel Jefferson on bass and John Innies on steel pan. The band existed for about 2 years, touring in Germany and Europe, unfortunately recording only one album which features a unique mix of Reggae and Funk.
The first track “Share It With You”, should give any serious music lover goose bumps. It was written by Flaverney and features a deep groove, steel drum solos and fantastic soulful vocals. It’s that type of tune you will play in a DJ set and people will come up to you and ask what it is. The single version is slightly edited.
Side B continues with Happiness, an equally great track with positive vibe and attitude, written by Flaverney and Jefferson. Again, the steel pan sounds give it that special compelling “Island” vibe from Trinidad.
The single is limited to 400 copies and comes in a beautiful picture sleeve showing part of the original artwork from the “Oh! What A Feeling” album.
Los Camaroes - A Journey Into Cameroonian Music
Los Camaroes
A Journey Into Cameroonian Music
LP | 2019 | EU | Original (Nubiphone)
19,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
For its 3rd releases, Nubiphone is proud to present you a compilation of the best early 7inch releases of the mythical Cameroonian band Los Camaroes.
10 raw tracks taken from various singles from 1968 to 1975, that present the musical diversity played by those seven young people: Bikutsi, Afro-Funk, Jerk, , Soukous, Rumba & Blues music. The band led by the charismatic lead vocal Messi Martin that managed to modernized Cameroonian music.
Deluxe edition that includes an 8-pages booklet, with exclusive pictures, biography in both English and French languages, and a HQ digital download card.
Odd Okoddo - Okitwoye
Odd Okoddo
Okitwoye
7" | 2019 | EU | Original (Pingipung)
9,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
Odd Okoddo is a Kenyan/German duo formed by Olith Ratego and Sven Kacirek. This vinyl single marks their first outing, announcing the album "Auma" which will be ripe and ready in autumn 2019. Olith Ratego performs his immaculate vocals in the musical style called "dodo", which originates from the shores of Lake Victoria in Kenya, high in pitch and soulfully expressive. He himself refers to his music as "dodo blues". As a skilled luthier, Olith Ratego designs and builds his string instruments himself, first of all the five-stringed Okoddo which lends its name to the project. Sven Kacirek is a multi-instrumentalist commuting between Germany and Kenya for many years now. He plays the marimba, percussions and piano, next to producing this project. He has closely collaborated with various international musicians, among them Nils Frahm, Shabaka Hutchings, F.S. Blumm and Marc Ribot. "Okitwoye" is one song of the first ODD OKODDO album "Auma“, it comes in a multi-layered, ambiguous rhythm between three and four. The remix on the B side amplifies the essence of the song. Peter Power is a part of the Voodoohop collective from Brazil and his releases on Multi Culti or Polychrome Sounds fuel the rather slow, organically hypnotic dancefloors. He premiered this remix at the Heliodora festival in Brazil, at sunrise next to a giant waterfall, and it was just perfect.
Tinariwen - Amadjar
L'Eclair - Sauropoda
L'Eclair
Sauropoda
LP | 2019 | CH | Original (Bongo Joe)
20,99 €*
Release:2019 / CH – Original
Genre:Organic Grooves
What do you need to know about L’Eclair’s new record? Let's see. It was recorded in an undisclosed location in the mountains over the course of two days in October 2018 and it contains five tracks lasting approximately 37 minutes. The music is freer…it was captured live in the studio, there are very few overdubs, and it's mega-organic. But you better listen for yourself.

Oh, and it’s called “Sauropoda" but don’t ask why. Think of it as a 2am Youtube rabbit-hole find, or that weird-looking soviet prog funk private press that you knew you should've bought the one time you came across it in the bins.

Most of "Sauropoda" comes from deep jams the band road-tested following the recording of 2018's breakthrough LP, "Polymood." In fact, it actually sounds more like a L’Eclair live show...blended with carefully-crafted dance floor grooves, last-minute studio fantasies, and fully-faded late night jams. L'Eclair is all about the blending of things, and those things never sound the same twice; endlessly morphing like the human machine itself.

"Sauropoda" is the way L'Eclair sounds right now in proto-groove's golden age. But don't let your head get in the way and try too hard to classify this music. Instead focus on the the way "Sauropoda" makes you f.e
Henry Wenceslas Thenard - Ne Dis Pas Cela
Henry Wenceslas Thenard
Ne Dis Pas Cela
12" | 1985 | EU | Reissue (Atangana)
13,99 €*
Release:1985 / EU – Reissue
Genre:Organic Grooves
Founded in 2018 by DJ & Producer Déni-Shain & Thomas Vicente, Atangana Records is the fruit of a friendship and an unlikely alliance between Déni, a true digging globe-trotter, who has spent over twenty years traveling the world in search of artists and uncovering tropical hits, and Thomas an entrepreneur, who reached beyond his career in hospitality, to make a move on his and Deni’s passion for tropical music.
The objective is simple: It’s to share the love of music and find the pleasure of hearing voices, percussions, and harmony's sadly gone amiss in social outings and in our homes. After the success of the label first two releases, notably the Fedia Laguerre – Divizion, Atangana is back on the saddle and is re-editing the Guadeloupean gem from Henry Wenceslas Thenard, “Ne Dis Pas Cela”, originating in 1985 from LM PRODUCTION.
After months of searching for the artist, Déni finally found Henry in his home in Saint-Anne in Guadeloupe. Meeting Henry was a moving moment, he unraveled the story on his title “Ne Dis Pas Cela” being the single of an album that never saw the light, and the version of the title engraved on the vinyl at the time was the not the final version of the song.
The new maxi that Henry considered to be at the time “the new sound of Guadeloupe” will be accompanied by a remix from Mr. Bird, and an instrumental version comprising his additional production.
Da Lata - Oba Lata
Da Lata
Oba Lata
12" | 2019 | EU | Original (Da La Music)
12,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
Written by Chris Franck and Davide Giovaninni, Oba Lata draws on traditional Yoruban chant blending it with a live afro-beat groove. Edgy, rhythmical analogue synths, vocals, guitars and percussion tied together by the clave and driving afro bassline make this a credible dance floor contender. The vocals honour "Obatala", one of the main Orishas in Yoruban culture. He is seen as the creator of earth and a lover of peace and harmony.
NameBrandSound are IG Culture and Alex Phountzi. The duo were part of the original West London broken beat scene and are known for their involvement with New Sector Movements and Bugz in the Attic. This remix draws on some of the modern African rhythms like Gqom (Durban - South Africa) and Coupé-Décalé (Ivory Coast via Paris) and combines them with their own "bruk" sound. Stripped back vocals and instrumentation make this a remix focused heavily on groove.
This instrumental track 'Dakar' is the result of a recent trip to Senegal during the period of Ramadan. It features an 8 piece woodwind/horn section recorded in Belo Horizonte (Brazil) which has been beautifully arranged by Rafael Martini. A mid tempo groove leaning heavily towards north africa combining acoustic and electronic elements to create a deep modal feel and mood.
Leon X Leon - Rokanbo EP
Leon X Leon
Rokanbo EP
12" | 2019 | EU | Original (Cracki)
11,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
A doctor by day and a musician by night, Leon x Leon has been producing songs in his Parisian home studio since 2013, where house, italo-disco and boogie are mixing. When he was younger, he was immersed in music by taking jazz drum lessons at the conservatory, and especially by seeing his father, a sound engineer, who had been building his own synthesizers since the 1970s. As a tribute, he used one of these unique synthesizers on a title of the disc.
After a remarkable remix of Cerrone's "Funk Makossa" and several tracks on various from “Red Laser Disco”, he released his project My Solar Brass on the same English label in 2017. Organizer of many Parisian parties, he also participated in the founding of the publishing label “Good Plus". With the release of Rokanbo on Cracki Records, Leon x Leon signs a mature EP with the influence of different styles.
The first eponymous title is a manifesto mixing Acid, House and Zouk. As soon as we launch the track, the pop & acid 80's sounds takes us to another world... A UFO from the Islands! The other parts of the EP don't leave us in the lurch! “Formant Sweep” delivers a soft and groovy bass that responds to an endless, spatial synthetic takeoff. On “Red Footpath”, the harder kick cleverly blends with an atmospheric blanket and a bright, lively flute solo straight from an abandoned piece of bamboo on a deserted beach. After that, “Jungle Juice” lets a crazy keyboard solo resonate in the middle of tropical fauna and flora, and finally on “Horizon”, the EP ends in beauty with an airy atmosphere. This last piece sounds like a beautiful sunset at the end of a long summer day.
Through all these tracks, Rokanbo EP offers us a clever contrast between synthetic notes and the warmth of tropical groove, and places our gaze towards the horizon, seeking the groove to disturb its line on the infinite sea.
Akofa Akoussah - Akofa Akoussah
Akofa Akoussah
Akofa Akoussah
LP | 2019 | EU | Original (Mr Bongo)
19,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
HHV congratulates Mr Bongo for 30 years of sublime reissues and outstanding music. Until the 22nd of August, all Mr Bongo items are available at a special birthday celebration price.

Rich, deep, percussive soulful folk album from master Togolese singer, Akofa Akoussah. The album moves through uptempo afro-folk-funk on ‘Tango’ to deep ballads of ‘Ramer Sans Rame’ and ‘I Tcho Tchass’ and lighter moments on ‘G Blem Di’ and ‘Mitso Aseye’. Akofas exceptional songs and soaring vocals are decorated with percussion, guitar lines, subtle backing vocals and horns to create a unique, rich sonic. The album was recorded for release by French label Sonafric in 1976. Produced by Gérard Akueson; founder & owner of African record label, ‘Akue’, based in Paris.
Music was truly in the blood of Julie Akofa Akoussah. She began singing at the age of three, inspired and led by her mother and older sister and became principal soloist in her school choir, St. Peter & Paul Choir of our Immaculate Conception Parish of Nyékonakpoé, at the age of 8. From there her career blossomed, and singing often took precedence over her studies. In order to master her art she spent time studying and working closely with local groups including Mélo Togo, Rocka Mambo, Rio Romamcero, Ok Fiesta, Eryco Jazz, Afro Cubano, Los Muchacho, Elégance Jazz and Togo Star amongst others. In her own words: ”Luck opened the door in January 1966 where I had the honour of being selected to share the stage with Bella Below – one of the best voices of
Africa – at the 1st ‘Negro Arts Festival’ in Dakar. On my return, I was approached by Ambroise Ouyi, the highly respected singer & poet, and we wrote ‘Tu Ne M'Écris Plus’, my very first opus.“
The popularity of her work led to an increased exposure for Togolese music outside of the country, in neighbouring Ghana and Benin most notably. During her career she collaborated and performed with greats including Manou Djibango, Queen Pelagie, Abeti Massikini, Aycha Koné and Myriam Makeba. Akoussah was also dedicated to, and widely recognised for, her work for social causes, championing and nurturing young musical talent, and the fight against AIDS. She was president of the National Union of Artists Musicians of Togo (UNAM) before sadly passing away in April 2007 after a long illness, at the age of 57.
Vaudou Game - Tata Fatiguee / Anniversaire
Dur-Dur Band - Dur Dur of Somalia
Dur-Dur Band
Dur Dur of Somalia
3LP | 2018 | EU | Original (Analog Africa)
35,99 €*
Release:2018 / EU – Original
Genre:Organic Grooves
Analog Africa are proud to present the 27th release of their Analog Africa Series. A fantastic, hypnotic and funky compilation from the Dur-Dur Band of Somalia that comes out on a Triple LP.

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

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

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

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

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

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

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

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

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

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

In addition to two previously unreleased tracks, the music is accompanied by extensive liner notes, featuring interviews with original band members, documenting a forgotten chapter of Somalia’s cultural history. Before the upheaval in the 1990s that turned Somalia into a war-zone, Mogadishu, the white pearl of the Indian Ocean, had been one of the jewels of eastern Africa, a modern paradise of culture and commerce. In the music of the Dur-Dur band – now widely available outside of Somalia – we can still catch a fleeting glimpse of that golden age.
Listen & Enjoy!
Mauskovic Dance Band, The - It's All Mauskovic / Analog Fruit
Tony Allen - Black Voices
Tony Allen
Black Voices
2LP | 1999 | EU | Reissue (Comet)
21,99 €*
Release:1999 / EU – Reissue
Genre:Organic Grooves
Comet presents the reissue of Black Voices (1999), featuring remastered versions and “Ariya (Psyche Juju Mix)” as bonus track, which was not part of the original release.
Tony Allen completely rewrote the books on what was possible within the AfroBeat genre with his stunning 1999 album, Black Voices. When one considers exactly "what" is going on throughout Black Voices, it is quite mind boggling, as it is almost impossible to associate a minimalist, electronic feel with the massive walls of sound which Allen was known to create.
Yet these walls of sound are still very present, yet they gain an entirely new feel due to the presence of the producer, Doctor L. He takes the mesmerizing rhythms that Allen creates and he spins them into a stunningly modern sound. While Doctor L's production work throughout Black Voices is truly fantastic, it is clear that the genius behind the album lies within the mind of Tony Allen. With the absolutely mesmerizing, funky grooves that Allen creates, it comes a little surprise that the vocal collaborations are handled by members of one of the funkiest bands in history: Parliament-Funkadelic.
For almost two decades, Black Voices has remained a stunning example of the fantastic results that can occur when seemingly unrelated genres clash.
Lord Echo - Harmonies DJ Friendly Edition
Lord Echo
Harmonies DJ Friendly Edition
2LP | 2017 | EU | Original (Soundway)
24,99 €*
Release:2017 / EU – Original
Genre:Organic Grooves
DJ friendly 2xLP version, cut loud for your pleasure!

Harmonies is the new long player from underground super-producer Lord Echo. Hotly anticipated for the last few years by his growing entourage of fans, many were frustrated by his descent into obscurity in the industrial backwaters of New Zealand where he lived alone and went completely insane trying to complete the record. But those frustrations are finally at an end, and the wait was worth it - for fans at least.The new album solidifies his already distinctive mutations of reggae and rock steady with disco, African soul, techno and spiritual jazz. In other words, the Lord has returned from the wilderness with a bounty for his followers. Eat of the bread of life and enjoy access to his crazy World of Sound.
Fela Kuti & The Africa 70 - Gentleman
Emahoy Tsegue-Mariam Guebru - Emahoy Tsegue-Mariam Guebru
Emahoy Tsegue-Mariam Guebru
Emahoy Tsegue-Mariam Guebru
LP | 2016 | US | Original (Mississippi)
20,99 €*
Release:2016 / US – Original
Genre:Organic Grooves
The second LP in Mississippi Record's ongoing series of releases from Tsege Mariam Gebru! Here are more '60s recordings of her truly unique solo piano performances. Tsege Mariam Gebru (or spelled here as Emahoy Tsegué-Mariam Guèbru) is a true original withb a style somewhere between Erik Satie, Debussy, Coptic liturgical music and Ethiopian traditional music. It is some of the most moving piano music you will ever hear! These original compositions appear on vinyl for the first time since their super rare original releases in the early 1960s. The LP comes in an old school "tip on" cover with gold foil printing.
Bosq - Rumbero
Bosq
Rumbero
7" | 2019 | EU | Original (Bacalao)
11,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
Preorder 08.11.2019
Funky tropical party starting disco with African and Antillean influences featuring the amazing Nidia Gongora on vocals for the A-Side.
The flip drops the bpm with a tastefully dubbed out percussion heavy reggae / cumbia / dancehall amalgamation featuring Camilo Tumbao on vocal duties. He lands somewhere between classic roots reggae vocal stylings and MC.
Bibi Ahmed - Adghah
Bibi Ahmed
Adghah
LP | 2019 | EU | Original (Sounds Of Subterrania)
23,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
Bibi Ahmed, Kopf und Bandleader von Group Inerane, stammt aus Agadez (Niger), eine der unbändigsten, unbeständigsten und gefährlichsten Gegenden dieser Erde. Früh wurde Bibi mit der Unterdrückung und Ausgrenzung der Tuareg durch die nationalen Regierungen von Mali und Niger konfrontiert. Ebenso früh erwachte seine Liebe zur Musik. Als Kind brachte sich Bibi Ahmed das Gitarre spielen selbst bei, bevor er seine Ausbildung von dem großen Meister und Vater des Tuareg-Blues, Abdallah Ag Oumbadougou, erhielt. Geprägt durch die Erlebnisse in den lybischen Flüchlingscamps während des Tuareg Aufstandes, verlieh Bibi Ahmed, während viele andere Künstler das Land in Richtung Amerika und Europa verließen, mit seiner Band Group Inerane der Rebellion eine eigene, musikalische Stimme und öffnete gleichzeitig die reiche Tradition der Tamachek-Gitarrensänge einer neue Generation Zuhörern. In Zusammenarbeit mit Sounds of Subterrania und den Lotte Lindenberg Studio entstand Februar 2019 sein erstes Soloalbum, bei welchem er alle Instrumente selbst einspielte. Diese Reduktion eröffnen einen völlig neuen Blick auf diesen sehr spezielle Mix aus Tuareg Blues, elektrifizierte Tamachek Folk und Psychedelic Sahara-Rock. Man spürt förmlich das Flirren der Hitze und begibt man sich auf den Pfad des Hörens , verschwimmen die Unterschiede zwischen spirituellen Trance und hypnotischem Psychedelic-Blues. Für Fans von Mdou Moctar, Tinawiren, Imarhan LP mit DLC in wertiger Aufmachung, CD als Digipack. Bibi Ahmed, head and bandleader of Group Inerane, is from Agadez, Niger, which is one of the most volatile, unbridled and dangerous parts of the world. Bibi was soon confronted with the oppression and marginalization of the Tuareg by the national governments of Mali and Niger. Just as early awakened his love for music. As a child, Bibi Ahmed taught himself to play the guitar before receiving his education from the great master and father of the Tuareg blues, Abdallah ag Oumbadougou. Marked by the experiences in the Libyan refugee camps during the Tuareg uprising, Bibi Ahmed and his band Group Inerane gave the rebellion its own musical voice, while at the same time making the rich tradition of Tamachek guitar singing accessible to a new generation of listeners. In February 2019 and in collaboration with Sounds of Subterrania and Lotte Lindenberg Studio, Bibi recorded his first solo album on which he played all of the instruments himself. This reduction opened up a whole new view on this quite extraordinary mix of Tuareg blues, electrified Tamachek folk and psychedelic Sahara rock. The listener literally feels the shimmer of the heat and, once one embarks on the path of listening, the differences between spiritual trance and hypnotic psychedelic blues become indistinct. For fans of Mdou Moctar, Tinawiren, Imarhan Vinyl in hi-end sleeve with dlc, CD as digipack!
Ismail & Sixu Toure - Mandinka Dong
Ismail & Sixu Toure
Mandinka Dong
LP | 1979 | EU | Reissue (Hot Mule / Secousse)
23,99 €*
Release:1979 / EU – Reissue
Genre:Organic Grooves
1977, Paris France. Two brothers freshly arrived from Casamance, the Senegalese ‘Florida’, are living the tough immigrant experience.
Their plan: becoming pop stars. A challenge so ambitious it sounds like science fiction at the time: Bob Marley, Fela Kuti and a handful of others artists have started making waves in the Western World , but the rise of the Pan-African sound is still at an early stage. The Touré brothers have formed a band, written some songs, and start frequently playing their music live, to great effect, at an underground theatre called the Dunois in the 13th Parisian district. The hype starts spreading.
Overcoming the odds, their parents' ban on playing music ("a satanic activity"), the death of their brother and mentor Amadou and a stint in a Mauritanian prison, they will ultimately reach stardom a few years later under the name Touré Kunda (The Elephant Family). A legendary 40-year career will follow: 16 albums released, millions of records sold, numerous world tours, awards and collabs with the likes of Manu Dibango, Talking Heads, Carlos Santana, Bill Laswell, Alpha Blondy, Bernie Worrel …
Released in 1979, self-financed by loans from friends and allies, Mandinka Dong is the genesis of Touré Kunda, the cornerstone of the band’s unique sound, at the crossroads of Disco, Funk, Pop, Reggae, Portuguese, Guinean, Cuban, Zairean, Mandinke and Soninke music. Limited to 700 copies and very difficult to find in decent condition, the original pressing faded into oblivion for decades. A low-resolution digital version of the album started circulating in recent years, not doing justice to the rich analog sound of the recording.
It is an honour for Secousse and Hot Mule Records to present a complete reissue of Mandinka Dong. Faithfully restored and remastered, it will be available in both digital and physical formats (in gatefold vinyl illustrated with photos from the artists’ archives and liner notes by Frank Tenaille, the band’s official biographer).
Lokkhi Terra Meets Dele Sosimi - Cubafro Remixes
Lokkhi Terra Meets Dele Sosimi
Cubafro Remixes
12" | 2019 | EU | Original (MoBlack)
10,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
Last summer, London fusionistas Lokkhi Terra joined forces with former Fela Kuti keyboardist Dele Sosimi for the four track album "Cubafrobeat", an ingenious blend of Cuban dance music and Nigerian/Yoruban Afrobeat. MoBlack Records present dope up-tempo re-imaginations of "Cubafro" by Peppe Citarella who contributes an uplifting latin jazz infused interpretation, and Armonica, Francesco Chiocci and MoBlack who serve downright tantalizing afro house renditions oozing with their respective landmark style
Ali Farka Toure - Savane 2019 Remaster Vinyl Edition
Dona Onete - Rebujo Colored Vinyl Edition
Dona Onete
Rebujo Colored Vinyl Edition
LP | 2019 | EU | Original (Mais Um Discos)
23,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
On the eve of her 80th birthday, Dona Onete - "the grande dame of Amazonian song" - returns with Rebujo, a love letter to her hometown of Belém, situated deep in the Amazon. Rebujo brims with two music styles born in Belém: carimbós, influenced by African grooves, and bangues, a ska-type rhythm, plus there's a cumbia, brega ('romantic' music) and samba. Since the release of her 2017 album Banzeiro, Onete has become a superstar in Brazil - she composed and sung the theme song for one of Brazil's biggest soap operas (A Força do Querer), been awarded the Brazilian Ordem do Mérito Cultural in recognition for her contribution to Brazilian culture + her video for 'No Meio do Pitiu' has an impressive 9.2m views on Youtube Outside of Brazil she's performed at Roskilde, Womad (UK, NZ & AUS), Gilles Peterson's Worldwide Festival and TFF Rudolstadt and is a global spokesperson for indigenous cultures.
Bibi The Kid Msomi - Colours Of The Rainbow
Bibi The Kid Msomi
Colours Of The Rainbow
LP | 2019 | US | Original (Jordan Valley)
23,99 €*
Release:2019 / US – Original
Genre:Organic Grooves
Rare South-African boogie / funk reissue from one of the finest male voice, surrounded by some of the nations top musical talent (Bayete, Satari, Hotline and more) Remastered 6 song mini LP originally produced in the mid-80s very in-demand with funk record collectors and DJs worldwide. Featuring 6 upbeat synth-driven, boogie funk dance tracks first officially licensed vinyl reissue Colours of the Rainbow contains the best 6 tracks from two rare South African LPs by recording artist Bibi the Kid Msomi: 4 tracks from the 1985 album Searching, and 2 tracks from the 1986 LP What Kind of Love is This?
Margino - Happy People
Margino
Happy People
LP | 1985 | EU | Reissue (Jamwax)
22,99 €*
Release:1985 / EU – Reissue
Genre:Organic Grooves
Margino (real name Kim Kallie) is a South African artist. She recorded her first song at the age of eight, when she performed ''Montreal'' with her mother Judy Page. She sang with the reggae group Kariba and jazz rock outfit Turbo in the early 80's, and later did backing vocals for Future and others. She first shot to fame as a solo star with a version of ''Holiday'' (written by Lisa Stevens and Curtis Hudson, credited as Cathy Hudson), which was released at the same time as Madonna's version. Margino also had a hit in 1983 with a cover of In-Deep's ''Last Night a DJ Saved My Life'', that went to #16 on the South-African Top 30 and charted for 10 weeks. She now runs a Performance Academy from her studio, and continues to perform on stage at events around Cape Town.
Recorded at RPM Recording Studios (Johannesburg, South Africa) in 1985, Happy People is a flawless album with dancefloor hits such as ''Happy People'', ''I'm Getting Out'' and ''One Hot Night'' and downtempo tunes such as ''You Turn Me On'', ''You Need A Woman'' and ''You''. All rhythm tracks were played by Attie Van Wyk (Keyboards, Synthesizer, Drum Machine) and Danny Bridgens (Guitar). The full album is a cream of boogie funk, disco and pop.
For this reissue, Jamwax took the pleasure to remaster the sound from the original tape. The artwork was also remake with Andy Warhol ''Marilyn Monroe'' pop art style, for your eyes pleasure.
Spaza - Spaza
Spaza
Spaza
LP | 2019 | EU | Original (Mushroom Hour Half Hour)
17,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
An entirely improvised live album recorded in one take in the inner city of Johannesburg, featuring some of the city’s finest experimental musicians, namely Siya Makuzeni (vocals, FX & Trombone), Nosisi Ngakane (vocals), Joao Orecchia (synthesisers & electronics), Waldo Alexander (electric violin with FX pedal), Gontse Makene (percussion) and Ariel Zamonsky (upright bass).
In the context of this improvised album, the term “spaza” not only refers to the name of the outdoor gallery in Troyeville, Johannesburg where this project was recorded in the autumn of 2015. No way.
In South Africa, “spaza” comes heavy with meaning. It could refer to an informal neighbourhood store usually attached to someone’s house, operating out of a shack or a repurposed shipping container. It has come to signify an entrepreneurship spirit, especially in South Africa’s black townships where restrictions to business ownership meant that only a few could attain that privileged societal status of legitimate business owner.
But in contemporary South Africa, spazas are also contested territories, given continental migratory patterns that have seen the country attract millions of political migrants against the backdrop of the remaining economic and spatial legacy of apartheid. Spazas have emerged as sites of war, bloodshed, wailing and despair as financially disempowered South Africans routinely mete out their frustrations on those spaza store owners that they consider “foreigners” and “outsiders”.
But spaza can mean something else entirely. Perhaps obliquely, there are musical references to be grasped at. SPAZA, the term, the recording, and the location, evokes a spirit of musical independence, a looseness, a jam session, a collaboration, a coming together of great minds at the corner to shoot the breeze, or let off a seriously considered prognosis.
In this sense, SPAZA, the album, is a conceptual coalescence of space, the body politic and an approach to music making. Helmed by the arbiters of spontaneity, Mushroom Hour Half Hour, this loping, expansive recording brings together musicians already adept at creating on the fly and playing in unlikely set-ups with their instruments of choice.
What emerges from the confluence of ideas, lead by vocalists Nosisi Ngakane and Siya Makuzeni (who also plays trombone), is a sonic experiment that is as tense as it is playful. There is an emotional intelligence to the vocal sculpting that spills over into the music, creating, in a sense, a sonic document that honours the precariousness of a simple trip to the cornerstore or the liberating feeling of levitating above it all.
SPAZA is at once opaque, direct and an unyielding morass of joy melding with pain, furtiveness caressing boldness. This could be the sound of the city turned inside out, ruminating on its troubled history and uncertain future, the sound of celebration and pensiveness.
Musically, there is a vulnerability to SPAZA that is in keeping with the ethos of Mushroom Hour Half Hour - that of bringing similarly minded musicians who might not necessarily play together, to create in one setting.
The results, while shaped in the milieu that is Johannesburg, are that of continental astral travel, a sonic reading of the city’s dreamscape.
Nakara Percussions - Nakara Percussions
Nakara Percussions
Nakara Percussions
LP | 1984 | EU | Reissue (Komos)
17,99 €*
Release:1984 / EU – Reissue
Genre:Organic Grooves
Hypnotic percussion tracks and organic soundscapes drawing on African, Asian, Indian & South American traditions, recorded deep in the French countryside in 1984. First-time reissue of a much sought-after French private press rarity at the intersection of jazz, percussion and experimental sounds - long a secret dancefloor weapon for open-minded DJs.
Rob - Hell Fire
Rob
Hell Fire
LP | 2018 | EU | Original (Tambourine Party)
27,99 €*
Release:2018 / EU – Original
Genre:Organic Grooves, Reggae / Dancehall
Preorder 27.09.2019
Madly rare album of Disco funk and reggae oddities from Rob (Ghanaian , Funky Rob, of 'Make It Fast, make It Slow' fame). " After many years the long lost Apocalyptic Disco Funk offering has been unearthed and re-released for the world to hear. Rob’s prophetic pre-apocalypse disco message, Hellfire, was originally released as a promotional LP by Nigerian label Taretone. Though a seminal work by Rob, disco stylings had fallen from vogue on the Nigerian dance floors. With the local airwaves dominated by artists like Félix Lebarty, Rob’s promotional release was shelved, and never got to see a full-scale commercial issue. Ultimately the master tapes were lost by Taretone and the album was doomed to obscurity for decades until its recent rediscovery by Tambourine Party Records.Hellfire is both a disco burner and a frantic warning about the impending end of the world. From the downtempo title track Hellfire to the floor-filling Glory be to Jesus, Rob will be sure to get his message across. Once the needle is dropped it is hard to deny that even if the world is coming to and end you can die happy listening to this album."
Ofege - The Last Of The Origins
Ofege
The Last Of The Origins
LP | 2018 | US | Original (Tidal Waves Music)
22,99 €*
Release:2018 / US – Original
Genre:Organic Grooves
Back on vinyl for the first time since 1976. Reissue of this RARE Nigerian landmark Psy-funk album. Comes with insert containing exclusive liner notes. Strictly limited to 1000 copies worldwide, comes with obi-strip.
Ofege was formed in the early 1970s by a bunch of teenagers at the St. Gregory’s College in Lagos Nigeria. They were largely influenced by the guitar solos of Carlos Santana, Jeff Beck & Jimmy Page while closer to home, they were influenced by the music of ‘BLO’ (Berkley Jones, Laolu Akins and Mike Odumosu), ‘Monomono’ (led by Joni Haastrup), The Funkees, and Ofo The Black Company.

Due to their vibrant combo of sweet harmonies, hooks & fuzz, Ofege would become one of the most legendary Nigerian groups of all time, with expressive sales and national stardom. At the turn of the century (and because of tracks appearing on various psychedelic music compilations) Ofege would receive international acknowledgment for being the first of their kind and the ultimate West-African psychedelic funk band!

Their debut album (Try And Love, EMI 1973 – also reissued by Tidal Waves Music) was recorded while the band members were still in high school (average age of 16) … their follow up ‘The Last Of The Origins’ (Recorded in 1975 and released on EMI in 1976) took some years to come out because some band members had to finish school first.

‘The Last Of The Origins’ is an exceptional record with a deep psychedelic approach. Complex rhythm sections, African inspirations, huge breaks, wah wah guitars and cosmic synths …it’s all there! Easily one of the best Afro-funk albums recorded in Nigeria in the 70s.

Tidal Waves Music now proudly presents the first ever official reissue of this rare Nigerian album (original copies tend to go for large amounts on the secondary market). Now finally back available as a limited vinyl edition (1000 copies) released exclusively for Schwarzer Freitag Record Store Day 2018. Comes with the original artwork by Yomi Osunfisan (Fela Kuti) and exclusive liner notes/pictures provided by Ofege’s founding member ‘Melvin Ukachi’ who also supervised this reissue.

Another friday dedicated to the black gold!
Les Choc Stars Du Zaire / Teknokrat's - Nakombe Nga / What Did She Say?
Les Choc Stars Du Zaire / Teknokrat's
Nakombe Nga / What Did She Say?
12" | 2018 | EU | Original (Rush Hour)
9,99 €*
Release:2018 / EU – Original
Genre:Organic Grooves
Heat in these two Belgian flavors! Check out the Zaïrian electronic dance floor banger “Nakombe Nga” by Les Choc Stars. Comes with the dope, unheard Belgium new beat version on the flip…Originally released in 1989, reissue co-curated with renowned record fiend John Gomez.
Funkees, The - Point Of No Return - Afro Funk Music French Girlie Cover Edition
Funkees, The
Point Of No Return - Afro Funk Music French Girlie Cover Edition
LP | 1974 | EU | Reissue (PMG)
19,99 €*
Release:1974 / EU – Reissue
Genre:Organic Grooves
The Funkees hit London in 1973 as the tightest, funkiest and most audacious bands to come out of Africa. Hardened by endless touring and an unrelenting battle with BLO and Monomono to be the best band in Nigeria, they were in prime musical condition, ready to finally lay down their first album. The result was Point Of No Return, a balls-to-the wall Afro funk-psych-rock monster that placed them, without question, on the top of the Afro funk pile. From the audacious opening instrumental title track to the funky finale, ‘I Can’t Be Satisfied’, the musicianship is jaw dropping, with a rhythm section so tight you couldn't slip a cigarette paper between them. ‘Abraka’, ‘Dancing In The Nude’ and ‘Ole’ find Jake Sollo, Harry Mosco and Sonny Akpabio at the height of their powers, playing songs fashioned from the sweat of years playing live and the soca and calypso influences of the West African and Caribbean musicians they played with in London. Point of No Return is rightly regarded as a landmark of psychedelic Afro Funk. It's also one that marks out The Funkees as not just one of the best bands in Nigeria or Africa, but in London and across the world too. - Peter Moore
Bonga - Angola 72
Bonga
Angola 72
LP | 1972 | EU | Reissue (Lusafrica)
24,99 €*
Release:1972 / EU – Reissue
Genre:Organic Grooves
Vinyl - LP 33 rpm - re-issued with original sleeve as published by Morabeza Records, in the Netherlands in 1972 for « Angola 72 », and, in 1974 for « Angola 74 » ... Very often included among the 50 must-have albums of modern African music, the 2 albums « Angola 72 » (with the inevitable « Mona Ki Ngi Xica ») and « Angola 74 » (with the first ever recorded version of « Sodade ») are finally re-edited in vinyl LP, with their original sleeves as published in 1972 and in 1974, in Holland, on the label Morabeza Records.
Ebo Taylor And The Pelikans - Ebo Taylor And The Pelikans
Ebo Taylor And The Pelikans
Ebo Taylor And The Pelikans
LP | 2017 | EU | Original (Mr Bongo)
15,99 €*
Release:2017 / EU – Original
Genre:Organic Grooves
HHV congratulates Mr Bongo for 30 years of sublime reissues and outstanding music. Until the 22nd of August, all Mr Bongo items are available at a special birthday celebration price.

Ebo Taylor is a legendary guitarist, composer, arranger and producer from Accra, Ghana. A leading light of Ghanaian music since the 1960’s, Taylor is still touring and recording, and at the age of 80 will be releasing a brand new studio album on Mr Bongo in 2018.
For this album, Ebo joined forces with 12-piece band ‘The Pelikans’ — from the Cape Coast region of Ghana — led by Bessa Simmona, with rhythm guitarist Fifi Orleans Lindsay. A genuine ‘holy-grail’ of Ghanaian music and one of Ebo’s most sought-after.
The album was released on the small Abookyi label. Named after a nightclub they played in called PELIKANS, and sung in English and Fante, this was the first album where Ebo sang on tracks, such as the classic ‘Come Along’, on which he also plays keyboard. This song clearly defined a new direction in highlife and has become a Ghanaian funk anthem. ‘Come Along’ formed the basis of Sadat X’s ‘Remember That’ hip hop jam from 2011.
This official Mr Bongo re-issue is packaged in our new & improved heavyweight ‘tip-on’ sleeves; printed in Japan, pressed on high quality vinyl, with label designs and artwork as per the original release.
Ebo’s forthcoming new studio album, ‘MIND YOUR OWN BUSINESS’ is set for release in spring 2018, on Mr Bongo.
Jeremy Spellacy - Jeremy Spellacy presents Crown Ruler Sound
Jeremy Spellacy
Jeremy Spellacy presents Crown Ruler Sound
2LP | 2017 | EU | Original (Spacetalk)
27,99 €*
Release:2017 / EU – Original
Genre:Organic Grooves
Don’t be fooled by Spellacey’s lower profile: amongst those who know, the Melbourne-based New Zealander is widely regarded as a seriously dustyfingered digger, capable of unearthing and championing ridiculously good records from all four corners of the globe. He sells some of these exceptional finds through his Crown Ruler online store, though there are many more that he keeps hidden from the public.
From synth-laden Zambian reggae and sumptuous orchestral Afro-soul, to humid Trinidadian boogie and horizontal Italian jazz-funk, Spellacey offers a whirlwind trip through the most kaleidoscopic and exotic parts of his epic collection. As you’d expect from a man who has traveled the world hunting down records, the majority of the 15 tracks will be unknown to all but a handful of similarly minded crate diggers. In fact, some are so obscure that you’ll struggle to find any mention of them at all online. This could be your only chance to own the boogie-era reggae-disco brilliance of Le Banda De Martin’s “Mi Dueno” and the tear-jerking Afro-soul shuffle of Kosmik 3’s “I’m Gonna Pack” (here featured in exclusive Jeremy Spellacey re-edit form).
Highlights come thick and fast, from the first note to the last. Check, for example, the wild P-funk of Acayouman’s “Funk Around”, the dancing marimbas and undulating grooves of Feladey’s “Forest Music” and the impeccable South African jazz-funk of Stimela’s sought-after 1983 debut single, “I Love You”.
Other notable highlights include Ezy & Isaac’s spellbinding 1977 cut “Let Your Body Move (Oba Balu Balu)”, seemingly the missing link between Rotary Connection, Fela Kuta and soundscape disco, Devon Russell’s inspired reggaesoul cover of Curtis Mayfield’s “Move on Up”, and Mike Fabulous’ “Wang East”, a sublime chunk of summery electro-reggae from Spellacey’s native New Zealand. We could go on, but we don’t want to spoil all the surprises. Suffice to say, Crown Ruler Sound will surprise and entertain you in equal measure.
Ngozi Family - Day Of Judgment
Ngozi Family
Day Of Judgment
LP | 2014 | US | Reissue (Now-Again)
20,99 €*
Release:2014 / US – Reissue
Genre:Organic Grooves
Proto-punk and garage Zamrock: the celebrated guitarist Paul Ngozi’s essential debut album. Featuring Chrissy Zebby Tembo.
Wganda Kenya / Peter King - Shaloade / Ajo
Wganda Kenya / Peter King
Shaloade / Ajo
7" | 2016 | UK | Original (Mr Bongo)
7,99 €*
Release:2016 / UK – Original
Genre:Organic Grooves
HHV congratulates Mr Bongo for 30 years of sublime reissues and outstanding music. Until the 22nd of August, all Mr Bongo items are available at a special birthday celebration price.

A. Wganda Kenya - Shaloade
Uptempo afro-latin business of the highest order.
You might recognise Wganda Kenya from our Latin 45’s series; they are intact a
Latin band produced by the legendary Fruko. This is a cover version of Fela
Kuti’s ‘Shakara Oloje’ originally released on Discos Fuentes in 1976, hence
their inclusion here in Africa 45’s.
AA. Peter King - Ajo
We have released two albums by Peter King on Mr Bongo, ‘Miliki Sound’ and
‘Shango’.
‘Ajo’ is a Mr Bongo favourite. Reminiscent of Begining Of The End’s ‘Funky
Nassau’, it’s sweet, vocal driven afro-funk with killer uplifting horn
sections, changes and drum breaks.
Originally appeared on King’s ‘Omo Lewa’ LP from 1976, originals of which are
nigh on impossible to find for a reasonable price now.
Ayalew Mesfin / Mulatu Astatke - Ghedawou / Asmarina
Ayalew Mesfin / Mulatu Astatke
Ghedawou / Asmarina
7" | 2016 | UK | Original (Mr Bongo)
8,99 €*
Release:2016 / UK – Original
Genre:Organic Grooves
HHV congratulates Mr Bongo for 30 years of sublime reissues and outstanding music. Until the 22nd of August, all Mr Bongo items are available at a special birthday celebration price.

A. Ayaléw Mèsfin ft. Black Lion Band - Ghedawou
Ethiopian dance floor Funk rarity originally released on Kaifa 7” (KF 31) in
1976. Hand claps, guitar lines and call and response lead vocals punctuate the
driving bass line and understated drum groove.
Mesfin played primarily at the Lumumba Club in Addis Ababa’s red light district
and released many 45’s and cassettes during the mid seventies.
He worked very closely with the Black Lion Band (or Tequr Ambessa Orchestra)
AA. Mulatu Astatke ft. Feqadu Amdé-Mesqel - Asmarina
Laid back, drum-heavy, Ethipian jazz taken from the legendary Ethio Jazz’ LP on
Amha (AELP 90). Typifies the sound of the country and the period, truly classic
stuff.
Mulatu will be touring heavily in 2016, which we are very much looking forward
to.
Amanaz - Africa
Amanaz
Africa
2LP | 1975 | US | Reissue (Now-Again)
31,99 €*
Release:1975 / US – Reissue
Genre:Organic Grooves
"Issued in 1975, this is the articulation of Zambia’s Zamrock ethos. While other albums - Rikki Ililonga’s Zambia, WITCH’s Lazy
Bones!! - are competitors, it’s hard to best this album as it covers each major quadrant of the Zamrock whole: it came from
the mines; its musicians were anti-colonial freedom fighters, it envelops Zambian folk music traditions, and it rocks - hard.
Amanaz were serious, and they made a serious stab at an album. They titled their album Africa, according to original band member Keith Kabwe, “because of how it was shared and how
its inhabitants were butchered and enslaved, its resources stolen… all the atrocities slave drivers committed. “ Thus, their “Kale,” a blues sung in Nyanja, that traced the continent’s arc
from slavery to Zambia’s independence closes the album.
Kabwe and rhythm guitarist John Kanyepa have a winsome softness to their vocals, which sit politely aside the feral growl of drummer Watson Baldwin Lungu, bassist Jerry Mausala and
bandleader/lead guitarist Isaac Mpofu. Africa’s vibe ranges from anxious (“Amanaz”) to escapist (“Easy Street”) to straight-up pissed-off. On the “History of Man,” his voice whiskeyburned,
his distorted guitar buzzing like swarming hornets, Mpofu indicts his species.
There’s a darkness to Africa not found on any other Zamrock records, and a melancholy drifts throughout, specifically on Mpofu’s more restrained “Khala My Friend,” which stands as an
effective, bleak situation for the Zambian everyman, the average citizen of a struggling, new nation, who might have had relatives in conflict-torn countries on the horizon, who might have
been struggling to find his next meal, who might have seen a bleaker future than his president promised.
Then there’s the clear Velvet Underground-influence on the nostalgic “Sunday Morning,” which, as Kabwe
recalls, was the first song written for the album, back in 1968, when Velvet Undergound and Nico was a new
release - and the underground funk of “Making The Scene.” The album also tackles traditional Zambian
music and early-‘60s rock – punctuated, of course by Kanyepa’s wah-wah and Mpofu’s fuzz guitars. But every
time Amanaz get too deep, too violent, they come back with an accessible song and woo their listener back
to the groove. “Green Apple” is a civil song, featuring Kanyepa’s sighing guitar.
It is a perfectly arranged album, from the dichotomy of Mpofu’s and Kanyepa’s lead and rhythm guitars, to the
vocal harmonies, to the rhythm section’s sense of space and time, which allows Africa’s funk to build.
Inexplicably, Africa was given two separate mixes and two separate presses: one version is dry, with the
vocals and drums mixed loud, the other slathered in reverb, with the vocals and drums disappearing into the
mix, and with the guitar solos mixed much louder. We’ve presented them both here as they each have their
appeal: it’s up to the listener to pick the one he or she prefers. This is a highpoint of the Zamrock scene and
we hope that this can be seen as its definitive reissue."
Dur-Dur Band - Volume 5
Dur-Dur Band
Volume 5
2LP | 1987 | US | Reissue (Awesome Tapes From Africa)
20,99 €*
Release:1987 / US – Reissue
Genre:Organic Grooves
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.
Shangaan Electro - New Wave Dance Music From South Africa
Shangaan Electro
New Wave Dance Music From South Africa
2LP | 2010 | UK | Original (Honest Jon's)
17,99 €*
Release:2010 / UK – Original
Genre:Organic Grooves, Electronic / Dance
An astounding compilation of the breakneck Shangaan dance output of the Nozinja studio in Soweto, recorded between 2006 and 2009.
Mulatu Astatke - Mulatu Of Ethiopia
Mulatu Astatke
Mulatu Of Ethiopia
LP | 1972 | US | Reissue (Worthy)
18,99 €*
Release:1972 / US – Reissue
Genre:Organic Grooves
Oh so classic album of Mulatu, the spearhead of the Ethiopian sound export.
Rachid Taha - Je Suis Africain
Rachid Taha
Je Suis Africain
LP | 2019 | EU | Original (Naive)
20,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
Preorder 27.09.2019
Im September letzten Jahres ist die französische Maghreb-Legende Rachid Taha im Alter von nur 59 Jahren verstorben. Taha war ein echter Virtuose, wenn es darum ging, arabische Musik mit westlichen Sounds wie House, Techno und Rock zusammenfließen zu lassen. Jetzt steht ein posthumanes Album an, mit Aufnahmen, die noch vor seinem Tod entstanden sind. "Je suis Africain" ist dabei eine Liebeserklärung an seine Heimat Algerien. Für die Fertigstellung des Albums haben sich unter anderem Brian Eno und Damon Albarn zusammengetan, um die musikalischen Visionen der Legende ein letztes Mal zu realisieren.
Surprise - Beleive Me
Surprise
Beleive Me
LP | 1983 | EU | Reissue (Beaumonde)
24,99 €*
Release:1983 / EU – Reissue
Genre:Organic Grooves
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.
Andy Ordonez - Evolucion De La Musica Garifuna
Andy Ordonez
Evolucion De La Musica Garifuna
7" | 2019 | EU | Original (Names You Can Trust)
13,29 €* 13,99 € -5%
Release:2019 / EU – Original
Genre:Organic Grooves
Introducing Andy Ordoñez, a young drummer and singer native to the cultural nexus of New York City that is The Bronx. The crucible of the NYC melting pot is a fitting base for this rising musician, who was born to Honduran parents of Garifuna decent and raised in the musically rich and diversified Central American neighborhoods of the northernmost borough. At the early age of 13, Ordoñez joined his father Bodoma and his touring Garifuna Cultural Band, themselves well-recognized artists in the Garifuna communities of the Caribbean and the US, communities that all trace their lineage toAfrican survivors of human cargo ships wrecked off the island of St. Vincent around 1675.Ordoñez forged his part in this evolving history while also cutting his musical teeth performing and practicing a legacy comprised of a historic blend of African and Caribbean culture arising through centuries-deep Garifuna heritage. It's another example of an incredibly varied and mixed upbringing that happens all around us in New York City, an essential but often unobserved contribution to the larger communities we inhabit.
On his debut vinyl release for Names You Can Trust, Ordoñez has transformed this base of folkloric drumming, a bedrock of parranda and punta rhythms, along with the distinctive sound of the primero drum (its snare-like punch coming from metal wires wrapped around the drumhead), and fused it with a contemporary blend of Caribbean-style synths and guitars to create a new and totally unheard-of evolution that lies somewhere in the echoes of Cabo Verde, Haiti and Ordoñez's Central American roots.
Ikebe Shakedown - Kings Left Behind
Ikebe Shakedown
Kings Left Behind
Tape | 2019 | US | Original (Colemine)
9,99 €*
Release:2019 / US – Original
Genre:Organic Grooves
Ten years ago, Ikebe Shakedown began pushing the boundaries of instrumental music. Each new track and live set has sent them deeper into combining the primal elements of ’70s soul, raw psychedelic style, and cinematic Western soundtracks with powerful grooves and soaring melodies. Now, with their new release, Kings Left Behind (Colemine Records), the band is giving listeners more mystery and majesty than ever before. The album features the entire group collaborating to produce tracks that deliver punches right to the gut, even as dreamy guitars and lush horn melodies and string arrangements capture the imagination.

The album was recorded by Ikebe's bassist, Vince Chiarito, at Hive Mind Recording. Opened with Ikebe's saxophonist, Mike Buckley, and another collaborator in 2017, Hive Mind has become a home base for the band, leading to more experimentation with the textures and sounds of a genre they define as Instrumental Soul.
Gyedu-Blay Ambolley - Ambolley
Gyedu-Blay Ambolley
Ambolley
LP | 1982 | EU | Reissue (Mr Bongo)
18,99 €*
Release:1982 / EU – Reissue
Genre:Organic Grooves
HHV congratulates Mr Bongo for 30 years of sublime reissues and outstanding music. Until the 22nd of August, all Mr Bongo items are available at a special birthday celebration price.

Extremely hard-to-obtain LP from the Ghanaian master composer, producer and musician. Originally released in 1982 by the WEA International label and then again in Germany in 1985 by Ambolley himself; this is one of his finest albums in our opinion.
Ambolley’ fuses Highlife, disco and boogie sonics perfectly and features the anthemic club cut, ‘Highlife’, that we have spinning for a while – always does the job!
Gyedu Blay Ambolley is still actively touring today, keeping these vibes alive – he will be touring Europe throughout 2019.
Official Mr Bongo reissue. Licensed from Gyedu-Blay Ambolley.
Obed Ngobeni And The Kurhula Sisters - Ta Duma
Obed Ngobeni And The Kurhula Sisters
Ta Duma
12" | 2019 | EU | Original (Afrosynth)
14,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
Preorder 27.09.2019
Obed Ngobeni and his backing singers the Kurhula Sisters were among the originators of Shangaan Disco, a genre that helped shape South Africa’s ‘bubblegum’ sound of the 80s.
The group emerged in 1983 with 'Kuhluvukile Ka Zete', a hit that later gained international recognition as ‘Kazet’. In 1984 Ngobeni followed this with the album Gazankulu, which included the irresistably catchy ‘Ta Duma’, pioneering in its fusion of traditional and electronic - a sign of things to come.
Heads Music boss Emil Dean Zoghby also cooked up a disco version of the track with producer Peter Moticoe and engineer Phil Audoire for release as a 12” (with a dub, of course), replacing the original version’s guitars with another layer of stinging synths and a proto-house beat to drive the song’s emphatic call-and-response chorus.
Ta Duma, the latest release on DJ Okapi’s Afrosynth Records, brings together all three versions of this massive track for the first time - a tribute to the roots of bubblegum. On the B-side, ‘Xikhobva’ offers a more traditional bass and guitar-driven groove over simmering drums.
Dona Onete - Rebujo Black Vinyl Edition
Dona Onete
Rebujo Black Vinyl Edition
LP | 2019 | EU | Original (Mais Um Discos)
22,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
On the eve of her 80th birthday, Dona Onete - "the grande dame of Amazonian song" - returns with Rebujo, a love letter to her hometown of Belém, situated deep in the Amazon. Rebujo brims with two music styles born in Belém: carimbós, influenced by African grooves, and bangues, a ska-type rhythm, plus there's a cumbia, brega ('romantic' music) and samba. Since the release of her 2017 album Banzeiro, Onete has become a superstar in Brazil - she composed and sung the theme song for one of Brazil's biggest soap operas (A Força do Querer), been awarded the Brazilian Ordem do Mérito Cultural in recognition for her contribution to Brazilian culture + her video for 'No Meio do Pitiu' has an impressive 9.2m views on Youtube Outside of Brazil she's performed at Roskilde, Womad (UK, NZ & AUS), Gilles Peterson's Worldwide Festival and TFF Rudolstadt and is a global spokesperson for indigenous cultures.
V.A. - Mizik Solay Sa Bon
V.A.
Mizik Solay Sa Bon
12" | 2019 | EU | Original (Atangana)
17,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
Atangana Records presents its 4th releases, beginning a new collaboration with Henri Debs & Fils imprint.
This record is a first tribute that Atangana Records and Henri Debs & Fils wanted to give back to the great Guadeloupean producer Henry Debs.
With this compilation EP, gathering rare and unpublished titles, Déni Shain and his team aim to dust off the archives of the label and allow as many people as possible to discover the pearls of the French Caribbean Islands.
Mazouni - Un Dandy En Exil - Algerie/France 1969/1983
Mazouni
Un Dandy En Exil - Algerie/France 1969/1983
2LP | 2019 | EU | Original (Born Bad)
21,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
1958, in the middle of the liberation war. While the rattle of machine guns could be heard in the maquis, in the city, the population listened at low volume to Algerian patriotic songs broadcast by the powerful Egyptian radio: “The Voice of the Arabs”. These artists all belonged to a troupe created by the self-proclaimed management of the National Liberation Front (FLN), based in Tunis and claiming to gather a “representative” sample of the Algerian musical movement of the time, among which Ahmed Wahby (who sang Wahran Wahran, a song popularized by Khaled) and Wafia from Oran, Farid Aly the Kabyle, and H’sissen, the champion of Algiers’ Chaâbi. The same year, singer Ben Achour was killed in conditions that have never been elucidated.
Algiers, by a summer evening in 1960. Cafe terraces were crowded and glasses of anisette kept coming with metronomic regularity, despite the alarming music of police sirens heard at intervals and the silhouettes of soldiers marching in the streets. The mood was good, united by a tune escaping from everywhere: balconies, where laundry was finishing drying, windows wide open from apartments or restaurants serving the famous Algiers shrimps along with copious rosé wine. Couples spontaneously joined the party upon hearing “Ya Mustafa“, punctuated by improvised choirs screaming “Chérie je t’aime, chérie je t’adore“. The song, as played by Sétif-born Alberto Staïffi, was a phenomenal success, to the point that even FLN fighters adopted it unanimously. Hence an unfortunate misunderstanding that would trick colonial authorities into believing Mustafa was an ode to the glory of Fellaghas. In 1961, Cheikh Raymond Leyris, a Jewish grand master of ma’luf (one of Algeria’s three Andalusian waves) who was Enrico Macias’ professor, was killed in Constantine, making him the first victim of a terrorist wave that would catch up with Algeria at the dawn of the 1990s by attacking anything that thought, wrote or sang.
Mohamed Mazouni, born January 4, 1940 in Blida – “The City of Roses” both known for its beautiful ‘Blueberry Square’ (saht ettout) in the middle of which a majestic bandstand took center stage, and its brothels – had just turned twenty. He was rather handsome and his memory dragged around a lot of catchy refrains by Rabah Driassa and Abderrahmane Aziz, also natives of Blida, or by ‘asri (modern music) masters Bentir or Lamari. He would make good use of all these influences and many others stemming from the Algerian heritage.
The young Mohamed was certainly aware of his vocal limits, as he used to underline them: “I had a small voice, I came to terms with it!“. But it didn’t lack charm nor authenticity, and it was to improve with age. He began his singing career in those years, chosing bedoui as a style (a Saharan genre popularized among others by the great Khelifi Ahmed).
July 1962. The last French soldiers were preparing their pack. A jubilant crowd was proclaiming its joy of an independent Algeria. Remembering the impact of popular music to galvanize the “working classes”, the new authorities in office rewarded the former members of the FLN troupe by appointing them at the head of national orchestras. In widespread euphoria, the government encouraged odes to the recovered independence, and refrains to the glory of “restored dignity” sprung from everywhere. Abderrahmane Aziz, a star of ‘asri (Algiers’ yé-yé) was a favorite with Mabrouk Alik (“Congratulations, Mohamed / Algeria came back to you“); Blaoui Houari, a precursor of Raï music, praised the courage of Zabana the hero; Kamel Hamadi recalled in Kabyle the experience of Amirouche the chahid (martyr), and even the venerable Remitti had her own song for the Children of Algeria. All this under the benevolent eye (and ear) of the regime led by Ahmed Ben Bella, the herald of the single party and vigilant guardian of the “Arab-Islamic values” established as a code of conduct. Singers were praised the Egyptian model, as well as Andalusian art intended for a nascent petty bourgeoisie and decreed a “national classic”; some did not hesitate to sell out. These Khobzists – an Algerian humorous term mocking those who put “putting-food-on-the-table” reasons forward to justify their allegiance to the system – were to monopolize all programs and stages, while on the fringes, popular music settled for animating wedding or circumcision celebrations. Its absence in the media further strengthened its regionalization: each genre (chaâbi, chaouï, Kabyle, Oranian…) stayed confined within its local boundaries, and its “national representatives” were those whose tunes didn’t bother anyone. The first criticisms would emanate from France, where many Algerian artists went to tackle other styles. During the Kabyle-expression time slot on Radio Paris, Slimane Azem – once accused of “collaboration” – sang, evoking animals, the first political lines denouncing the dictatorship and preconceived thinking prevailing in his country. The reaction was swift: under pressure from the Algerian government, the Kabyle minute was cancelled. Even in Algeria, Ahmed Baghdadi aka Saber, an idol for fans of Raï music (still called “Oranian folklore”), was imprisoned for denouncing the bureaucracy of El Khedma (work).
For his part, Mazouni was to be noticed through a very committed song: Rebtouh Fel Mechnak (“They tied him to the guillotine”). But above all, the general public discovered him through a performance at the Ibn Khaldoun Theater (formerly Pierre Bordes Theater, in the heart of Algiers), broadcast by the Algerian Radio Broadcasting, later renamed ENTV. This would enable him to integrate the Algerian National Theater’s artistic troupe. Then, to pay tribute to independence, he sang “Farewell France, Hello Algeria”.
June 19, 1965: Boumediene’s coup only made matters worse. Algeria adopted a Soviet-style profile where everything was planned, even music. Associations devoted to Arab-Andalusian music proliferated and some sycophantic music movement emerged, in charge of spreading the message about “fundamental options”. Not so far from the real-fake lyricism epitomized by Djamel Amrani, the poet who evoked a “woman as beautiful as a self-managed farm”. The power glorified itself through cultural weeks abroad or official events, summoning troubadours rallied to its cause. On the other hand, popular music kept surviving through wedding, banquets and 45s recorded for private companies, undergoing censorship and increased surveillance from the military.
As for Mazouni, he followed his path, recording a few popular tunes, but he also was in the mood for traveling beyond the Mediterranean: “In 1969 I left Algeria to settle in France. I wanted to get a change of air, to discover new artistic worlds“. He, then, had no idea that he was about to become an idolized star within the immigrant community.
France. During the 1950s and 1960s, when parents were hugging the walls, almost apologizing for existing, a few Maghrebi artists assumed Western names to hide their origins. This was the case of Laïd Hamani, an Algerian from Kabylia, better known as Victor Leed, a rocker from the Golf Drouot’s heyday, or of Moroccan Berber Abdelghafour Mociane, the self-proclaimed “Vigon”, a hack of a r&b voice. Others, far more numerous, made careers in the shadow of cafes run by their compatriots, performing on makeshift stages: a few chairs around a table with two or three microphones on it, with terrible feedback occasionally interfering. Their names were Ahmed Wahby or Dahmane El Harrachi. Between the Bastille, Nation, Saint-Michel, Belleville and Barbès districts, an exclusively communitarian, generally male audience previously informed by a few words written on a slate, came to applaud the announced singers. It happened on Friday and Saturday nights, plus on extra Sunday afternoons.
In a nostalgia-clouded atmosphere heated by draft beers, customers – from this isolated population, a part of the French people nevertheless – hung on the words of these musicians who resembled them so much. Like many of them, they worked hard all week, impatiently waiting for the weekend to get intoxicated with some tunes from the village. Sometimes, they spent Saturday afternoons at movie theaters such as the Delta or the Louxor, with extra mini-concerts during intermissions, dreaming, eyes open, to the sound of Abdel Halim Hafez’ voice whispering melancholic songs or Indian laments made in Bombay on full screen. And the radio or records were also there for people to be touched to the rhythm of Oum Kalsoum’s songs, and scopitones as well to watch one’s favorite star’s videos again and again.
Dumbfounded, Mohamed received this atmosphere of culture of exile and much more in the face. Fully immersed in it, he soaked up the songs of Dahmane El Harrachi (the creator of Ya Rayah), Slimane Azem, Akli Yahiaten or Cheikh El Hasnaoui, but also those from the crazy years of twist and rock’n’roll as embodied by Johnny Hallyday, Les Chaussettes Noires or Les Chats Sauvages, not to mention Elvis Presley and the triumphant beginnings of Anglo-Saxon pop music. Between 1970 and 1990, he had a series of hits such bearing such titles as “Miniskirt”, “Darling Lady”, “20 years in France”, “Faded Blue”, Clichy, Daag Dagui, “Comrade”, “Tell me it’s not true” or “I’m the Chaoui”, some kind of unifying anthem for all regions of Algeria, as he explained: “I sang for people who, like me, experienced exile. I was and have always remained very attached to my country, Algeria. To me, it’s not about people from Constantine, Oran or Algiers, it’s just about Algerians. I sing in classical or dialectal Arabic as much as in French and Kabyle”.
Mazouni, a dandy shattered by his century and always all spruced up who barely performed on stage, had greatly benefited from the impact of scopitones, the ancestors of music videos – those image and sound machines inevitably found in many bars held by immigrants. His strength lay in Arabic lyrics all his compatriots could understand, and catchy melodies accompanied by violin, goblet drum, qanun, tar (a small tambourine with jingles), lute, and sometimes electric guitar on yé-yé compositions. Like a politician, Mazouni drew on all themes knowing that he would nail it each time. This earned him the nickname “Polaroid singer” – let’s add “kaleidoscope” to it. Both a conformist (his lectures on infidelity or mixed-race marriage) and disturbing singer (his lyrics about the agitation upon seeing a mini-skirt or being on the make in high school…), Mohamed Mazouni crossed the 1960s and 1970s with his dark humor and unifying mix of local styles. Besides his trivial topics, he also denounced racism and the appalling condition of immigrant workers. However, his way of telling of high school girls, cars and pleasure places earned him the favors of France’s young migrant zazous.
But by casting his net too wide, he made a mistake in 1991, during the interactive Gulf War, supporting Saddam Hussein’s position through his provocative title Zadam Ya Saddam (“Go Saddam”). He was banned from residing in France for five years, only returning in 2013 for a concert at the Arab World Institute where he appeared dressed as the Bedouin of his beginnings.
At the end of the 1990s, the very wide distribution of Michèle Collery and Anaïs Prosaïc’s documentary on Arabic and Berber scopitones (first on Canal+, then in many theaters with debates following about singing exile), highlighted Mazouni’s important role, giving new impetus to his career. Rachid Taha, who covered Ecoute-moi camarade, Zebda’s Mouss and Hakim with Adieu la France, Bonjour l’Algérie, as well as the Orchestre National de Barbès who played Tu n’es plus comme avant (Les roses), also contributed to the recognition of Mazouni by a new generation.
Living in Algeria, Mohamed Mazouni did not stop singing and even had a few local hits, always driven by a “wide targeting” ambition. This compilation, the first one dedicated to him, includes all of his never-reissued “hits” with, as a bonus, unobtainable songs such as L’amour Maâk, Bleu Délavé or Daag Dagui.1958, in the middle of the liberation war. While the rattle of machine guns could be heard in the maquis, in the city, the population listened at low volume to Algerian patriotic songs broadcast by the powerful Egyptian radio: “The Voice of the Arabs”. These artists all belonged to a troupe created by the self-proclaimed management of the National Liberation Front (FLN), based in Tunis and claiming to gather a “representative” sample of the Algerian musical movement of the time, among which Ahmed Wahby (who sang Wahran Wahran, a song popularized by Khaled) and Wafia from Oran, Farid Aly the Kabyle, and H’sissen, the champion of Algiers’ Chaâbi. The same year, singer Ben Achour was killed in conditions that have never been elucidated.
Algiers, by a summer evening in 1960. Cafe terraces were crowded and glasses of anisette kept coming with metronomic regularity, despite the alarming music of police sirens heard at intervals and the silhouettes of soldiers marching in the streets. The mood was good, united by a tune escaping from everywhere: balconies, where laundry was finishing drying, windows wide open from apartments or restaurants serving the famous Algiers shrimps along with copious rosé wine. Couples spontaneously joined the party upon hearing “Ya Mustafa“, punctuated by improvised choirs screaming “Chérie je t’aime, chérie je t’adore“. The song, as played by Sétif-born Alberto Staïffi, was a phenomenal success, to the point that even FLN fighters adopted it unanimously. Hence an unfortunate misunderstanding that would trick colonial authorities into believing Mustafa was an ode to the glory of Fellaghas. In 1961, Cheikh Raymond Leyris, a Jewish grand master of ma’luf (one of Algeria’s three Andalusian waves) who was Enrico Macias’ professor, was killed in Constantine, making him the first victim of a terrorist wave that would catch up with Algeria at the dawn of the 1990s by attacking anything that thought, wrote or sang.
Mohamed Mazouni, born January 4, 1940 in Blida – “The City of Roses” both known for its beautiful ‘Blueberry Square’ (saht ettout) in the middle of which a majestic bandstand took center stage, and its brothels – had just turned twenty. He was rather handsome and his memory dragged around a lot of catchy refrains by Rabah Driassa and Abderrahmane Aziz, also natives of Blida, or by ‘asri (modern music) masters Bentir or Lamari. He would make good use of all these influences and many others stemming from the Algerian heritage.
The young Mohamed was certainly aware of his vocal limits, as he used to underline them: “I had a small voice, I came to terms with it!“. But it didn’t lack charm nor authenticity, and it was to improve with age. He began his singing career in those years, chosing bedoui as a style (a Saharan genre popularized among others by the great Khelifi Ahmed).
July 1962. The last French soldiers were preparing their pack. A jubilant crowd was proclaiming its joy of an independent Algeria. Remembering the impact of popular music to galvanize the “working classes”, the new authorities in office rewarded the former members of the FLN troupe by appointing them at the head of national orchestras. In widespread euphoria, the government encouraged odes to the recovered independence, and refrains to the glory of “restored dignity” sprung from everywhere. Abderrahmane Aziz, a star of ‘asri (Algiers’ yé-yé) was a favorite with Mabrouk Alik (“Congratulations, Mohamed / Algeria came back to you“); Blaoui Houari, a precursor of Raï music, praised the courage of Zabana the hero; Kamel Hamadi recalled in Kabyle the experience of Amirouche the chahid (martyr), and even the venerable Remitti had her own song for the Children of Algeria. All this under the benevolent eye (and ear) of the regime led by Ahmed Ben Bella, the herald of the single party and vigilant guardian of the “Arab-Islamic values” established as a code of conduct. Singers were praised the Egyptian model, as well as Andalusian art intended for a nascent petty bourgeoisie and decreed a “national classic”; some did not hesitate to sell out. These Khobzists – an Algerian humorous term mocking those who put “putting-food-on-the-table” reasons forward to justify their allegiance to the system – were to monopolize all programs and stages, while on the fringes, popular music settled for animating wedding or circumcision celebrations. Its absence in the media further strengthened its regionalization: each genre (chaâbi, chaouï, Kabyle, Oranian…) stayed confined within its local boundaries, and its “national representatives” were those whose tunes didn’t bother anyone. The first criticisms would emanate from France, where many Algerian artists went to tackle other styles. During the Kabyle-expression time slot on Radio Paris, Slimane Azem – once accused of “collaboration” – sang, evoking animals, the first political lines denouncing the dictatorship and preconceived thinking prevailing in his country. The reaction was swift: under pressure from the Algerian government, the Kabyle minute was cancelled. Even in Algeria, Ahmed Baghdadi aka Saber, an idol for fans of Raï music (still called “Oranian folklore”), was imprisoned for denouncing the bureaucracy of El Khedma (work).
For his part, Mazouni was to be noticed through a very committed song: Rebtouh Fel Mechnak (“They tied him to the guillotine”). But above all, the general public discovered him through a performance at the Ibn Khaldoun Theater (formerly Pierre Bordes Theater, in the heart of Algiers), broadcast by the Algerian Radio Broadcasting, later renamed ENTV. This would enable him to integrate the Algerian National Theater’s artistic troupe. Then, to pay tribute to independence, he sang “Farewell France, Hello Algeria”.
June 19, 1965: Boumediene’s coup only made matters worse. Algeria adopted a Soviet-style profile where everything was planned, even music. Associations devoted to Arab-Andalusian music proliferated and some sycophantic music movement emerged, in charge of spreading the message about “fundamental options”. Not so far from the real-fake lyricism epitomized by Djamel Amrani, the poet who evoked a “woman as beautiful as a self-managed farm”. The power glorified itself through cultural weeks abroad or official events, summoning troubadours rallied to its cause. On the other hand, popular music kept surviving through wedding, banquets and 45s recorded for private companies, undergoing censorship and increased surveillance from the military.
As for Mazouni, he followed his path, recording a few popular tunes, but he also was in the mood for traveling beyond the Mediterranean: “In 1969 I left Algeria to settle in France. I wanted to get a change of air, to discover new artistic worlds“. He, then, had no idea that he was about to become an idolized star within the immigrant community.
France. During the 1950s and 1960s, when parents were hugging the walls, almost apologizing for existing, a few Maghrebi artists assumed Western names to hide their origins. This was the case of Laïd Hamani, an Algerian from Kabylia, better known as Victor Leed, a rocker from the Golf Drouot’s heyday, or of Moroccan Berber Abdelghafour Mociane, the self-proclaimed “Vigon”, a hack of a r&b voice. Others, far more numerous, made careers in the shadow of cafes run by their compatriots, performing on makeshift stages: a few chairs around a table with two or three microphones on it, with terrible feedback occasionally interfering. Their names were Ahmed Wahby or Dahmane El Harrachi. Between the Bastille, Nation, Saint-Michel, Belleville and Barbès districts, an exclusively communitarian, generally male audience previously informed by a few words written on a slate, came to applaud the announced singers. It happened on Friday and Saturday nights, plus on extra Sunday afternoons.
In a nostalgia-clouded atmosphere heated by draft beers, customers – from this isolated population, a part of the French people nevertheless – hung on the words of these musicians who resembled them so much. Like many of them, they worked hard all week, impatiently waiting for the weekend to get intoxicated with some tunes from the village. Sometimes, they spent Saturday afternoons at movie theaters such as the Delta or the Louxor, with extra mini-concerts during intermissions, dreaming, eyes open, to the sound of Abdel Halim Hafez’ voice whispering melancholic songs or Indian laments made in Bombay on full screen. And the radio or records were also there for people to be touched to the rhythm of Oum Kalsoum’s songs, and scopitones as well to watch one’s favorite star’s videos again and again.
Dumbfounded, Mohamed received this atmosphere of culture of exile and much more in the face. Fully immersed in it, he soaked up the songs of Dahmane El Harrachi (the creator of Ya Rayah), Slimane Azem, Akli Yahiaten or Cheikh El Hasnaoui, but also those from the crazy years of twist and rock’n’roll as embodied by Johnny Hallyday, Les Chaussettes Noires or Les Chats Sauvages, not to mention Elvis Presley and the triumphant beginnings of Anglo-Saxon pop music. Between 1970 and 1990, he had a series of hits such bearing such titles as “Miniskirt”, “Darling Lady”, “20 years in France”, “Faded Blue”, Clichy, Daag Dagui, “Comrade”, “Tell me it’s not true” or “I’m the Chaoui”, some kind of unifying anthem for all regions of Algeria, as he explained: “I sang for people who, like me, experienced exile. I was and have always remained very attached to my country, Algeria. To me, it’s not about people from Constantine, Oran or Algiers, it’s just about Algerians. I sing in classical or dialectal Arabic as much as in French and Kabyle”.
Mazouni, a dandy shattered by his century and always all spruced up who barely performed on stage, had greatly benefited from the impact of scopitones, the ancestors of music videos – those image and sound machines inevitably found in many bars held by immigrants. His strength lay in Arabic lyrics all his compatriots could understand, and catchy melodies accompanied by violin, goblet drum, qanun, tar (a small tambourine with jingles), lute, and sometimes electric guitar on yé-yé compositions. Like a politician, Mazouni drew on all themes knowing that he would nail it each time. This earned him the nickname “Polaroid singer” – let’s add “kaleidoscope” to it. Both a conformist (his lectures on infidelity or mixed-race marriage) and disturbing singer (his lyrics about the agitation upon seeing a mini-skirt or being on the make in high school…), Mohamed Mazouni crossed the 1960s and 1970s with his dark humor and unifying mix of local styles. Besides his trivial topics, he also denounced racism and the appalling condition of immigrant workers. However, his way of telling of high school girls, cars and pleasure places earned him the favors of France’s young migrant zazous.
But by casting his net too wide, he made a mistake in 1991, during the interactive Gulf War, supporting Saddam Hussein’s position through his provocative title Zadam Ya Saddam (“Go Saddam”). He was banned from residing in France for five years, only returning in 2013 for a concert at the Arab World Institute where he appeared dressed as the Bedouin of his beginnings.
At the end of the 1990s, the very wide distribution of Michèle Collery and Anaïs Prosaïc’s documentary on Arabic and Berber scopitones (first on Canal+, then in many theaters with debates following about singing exile), highlighted Mazouni’s important role, giving new impetus to his career. Rachid Taha, who covered Ecoute-moi camarade, Zebda’s Mouss and Hakim with Adieu la France, Bonjour l’Algérie, as well as the Orchestre National de Barbès who played Tu n’es plus comme avant (Les roses), also contributed to the recognition of Mazouni by a new generation.
Living in Algeria, Mohamed Mazouni did not stop singing and even had a few local hits, always driven by a “wide targeting” ambition. This compilation, the first one dedicated to him, includes all of his never-reissued “hits” with, as a bonus, unobtainable songs such as L’amour Maâk, Bleu Délavé or Daag Dagui.
Greenwood Rhythm Coalition - Jewels
Greenwood Rhythm Coalition
Jewels
7" | 2019 | EU | Original (Names You Can Trust)
13,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
Back in 2007 Names You Can Trust was launched with an EP from Greenwood Rhythm Coalition. For NYCT's landmark 50th single release, the group returns, drawing on the same long-simmering stew of African, Caribbean and American funk and dancefloor vibes that flavored that first release, but with a sound more deeply infused and farseeing than anything they've done before. The spacey, arcing cut is woven through with guitar that blurs the lines between western twang and soukous popcorn and anchored by cabinet-rattling low end. Spread over two sides of a seven-inch single or available in unedited form digitally, "Jewels" is hypnotic and quite uncategorizable, except to say that sitting still will not be an option when it spins. Adventurous DJs, headphone journeyers, underground dancers, postmodern tropicalistas, and all those whose musical tastes dwell somewhere in the magical twilight of imaginary cities, take note.
Ebo Taylor, Pat Thomas & Uhuru Yenzu - Hitsville Re-Visited
Ebo Taylor, Pat Thomas & Uhuru Yenzu
Hitsville Re-Visited
LP | 1982 | EU | Reissue (Mr Bongo)
18,99 €*
Release:1982 / EU – Reissue
Genre:Organic Grooves
HHV congratulates Mr Bongo for 30 years of sublime reissues and outstanding music. Until the 22nd of August, all Mr Bongo items are available at a special birthday celebration price.

Hard-to-obtain, vintage highlife from three true giants of the sound; Ebo Taylor, Pat Thomas & Uhuru Yenzu. Originally released in 1982.
In 'Hitsville Re-Visited', the mighty trio add a dose of uptempo funk into traditional highlife grooves.
The legendary Ebo Taylor was involved in many funk and highlife records to emerge from Ghana in the 70's and 80's. He worked with bands such as Apagya Show Band, C.K. Mann as well as Pat Thomas, on this, and several other records.
Taylor recorded another album with Uhuru Yenzu in 1980 – 'Conflict' – which is also available on Mr Bongo.
Pat Thomas career began in 1969 with the ‘Broadway Dance Band’, leaving a year later to join the ‘Uhuru Dance Band’. He then played with Ebo Taylor’s ‘Blue Monks’ and finally formed the ‘Sweet Beans’ in 1973 where he really made his name.
Thomas and Taylor's careers span more than 50 years now and they both still tour to play around the world.
Licensed from Essiebons. Official Mr Bongo reissue.
Alan Parker & John Cameron - Afro Rock
Alan Parker & John Cameron
Afro Rock
LP | 1973 | EU | Reissue (Be With)
24,99 €*
Release:1973 / EU – Reissue
Genre:Organic Grooves
This release comes on 180g vinyl and was remastered from the original tapes. Be With have raided the KPM archives to re-issue another of our favourites from the KPM 1000 series. They say: Hard Afro Pop featuring large percussive rhythm section and front line. We say: One of the best-loved of all the KPM LPs. Afro Rock was recorded at Morgan Studios by John Cameron and Alan Parker in London in 1973 as a collection of stripped-down African rhythms, virtuoso jazz instrumentation, fuzzed up wah wah guitars and spaced out library breaks. The percussion is effortlessly funky, and those flutes so melodic, it’s as if the LP was crafted with the beat lovers of the future firmly in mind. As Cameron himself described it in Unusual Sounds, this is “heavy duty drum-and-bass salsa music”. As with all of our KPM re-issues, the audio for The Road Forward comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity. And don’t worry! Those KPM stickers aren’t stuck directly on the sleeves!
K.O.G. & The Zongo Brigade - Wahala Wahala
Bees, The - She's A Witch - Tikoloshi
Bees, The
She's A Witch - Tikoloshi
LP | 1988 | EU | Reissue (Afrosynth)
13,99 €*
Release:1988 / EU – Reissue
Genre:Organic Grooves
Little-known trio The Bees put out only one full album, 1988’s She’s A Witch (Tikoloshi). Its six tracks all offer dancefloor-ready, distinctively South African grooves that show how bubblegum in the late 80s embraced house music. Produced by Steve Cooks, who would go on to work with heavyweights Senyaka, Spokes H and Umoja in the years that followed. Searing vocals and percussive synth basslines are best on ‘Hlabalaza’ (already a DJ favourite) and the title track, it lyrics telling the spooky tale of an evil woman who rules the night - ‘Tikoloshi’ being the mischievous creature of Zulu folklore (usually a man) who is still widely blamed for all manner of mysterious happenings in the middle of the night.
Sammy Massamba - Propriete Privee
Sammy Massamba
Propriete Privee
LP | 1987 | EU | Reissue (Secousse)
19,99 €*
Release:1987 / EU – Reissue
Genre:Organic Grooves
Propriété Privée is the pinnacle of Congolese musician Sammy Massamba’s style: a successful fusion of African and American music heritage, halfway between Franco and Otis Redding, Fela and Wilson Picket, King Sunny Ade and Aretha Franklin.
Home made in Paris, self-released in 1987, with only 1000 copies hand distributed, the 4 tracks EP features the nastiest funk, boogie, soukous, rumba and electro pop soundclash the Eighties could offer.
Carefully restored, remastered and repackaged in total respect with its original release. The vinyl lacquer reissue was even made by its original author, the legendary André ‘Dédé’ Perriat. Sammy Massamba’s life story is printed together with photos and liner notes on the inner sleeve of the 12". He still lives in France and is available for interviews, showcases, live shows and any sign of the gratitude he deserves.
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