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Four deejay wmds beaming in from Osaka: weird, unsettling disco-funk, guaranteed to rock the house. Kanwaza crosses ethnic roots and disco, Cross Calf Dance jacks up the quirkiness, Stormy Weather and Water lock down the after-hours crew.

(180gr gatefold cover)

Milton's second volume of tracks cut with his legendary "corner club" - with a very similar approach to the landmark first volume! Loads of great artists make guest appearances on here, like Lo Borges, Wagner Tiso, Toninho Horta, and Chico Buarque - and the production has haunting blend of baroque, jazz, and soul that we can only define as "Nascimento like"! A really fitting companion to the first volume, and a double-length set with tracks that include "E Dai", "Pao E Agua", "Canoa, Canoa", "Credo", "Nascente", "Meu Menino", "Que Bom, Amigo"

Following on the success of their first collaboration, edit king Danny Krivit and Most Excellent Unlimited return with another eminently
useful two-sider. Krivit's reputation hardly needs to be detailed--anyone who has the slightest interest in dance music and DJ
culture will undoubtedly have a quiver of his renowned edits ready to be deployed on discerning dance floors.

'Corazon" was written by the singer/songwriter par excellence Carole King, and first appeared as a single in 1973. The song's soulful latin
flavor immediately caught the ear of the emerging disco movement, spawning cover versions that intensified the percussive groove and
thickened the bottom end. Danny's masterpiece edit seamlessly weaves King's original version with the most notable of these covers,
Creative Source's 1975 take. The jazzy, heavy vibes break has long been an automatic floor-filler in New York City, from the Bronx parks
where it was an early b-boy staple to the downtown Loft scene. This edit is truly the best of both worlds.

'Deep Sky" is of more cloudy origins, a modern counterpoint to the classic on the flip side. The loping groove, accented with strings,
percussion and a nod to the iconic trance birdcall sound effect, builds majestically, its epic 10-and-a-half minutes passing
effortlessly. The mid-tempo pace exudes a quiet energy that makes it an easy fit for a wide variety of rooms.

Both tracks have been mastered from Danny's personal collection and pressed onto high-quality virgin vinyl in extremely limited
quantities.

Huge Colombian Felito Records compilation! Includes bonus DVD of the Colombian Gold documentary, which digs deep into the heritage of Colombian music. . Tucked away deep in the heart of Barranquilla's infamous city center stands the remains of one of the most important record labels of Colombia's Musica Tropical scene: Felito Records. Selected and dug up and out by Sanjay Agarawi. TIP!
This best of compilation features a blistering set of heavy cuts with deep indigenous undertones expressed in a stellar array of hybrid tropical sounds.... Established in the late 1970s by Don Felix Butron, Felito records became a powerhouse for the recording and preservation of afro indigenous rhythms in Colombia's Caribbean coast. From its conception to its heydays in the 1980s and '90s, Felito Records produced and recorded some of the most prolific music at the time, pioneering a new and innovative sound that captured the rich diversity existing in Colombia's Caribbean region.

Mr Bongo is proud to present 'The Original Sound of Mali', compiled by Vik Sohonie & David Buttle.
Malian music is arguably deeper, more sophisticated and lyrical than any other form of African music. Those of us deeply entranced by Malian culture, and, in particular, the immense hypnotic beauty of Malian music, have put together a
selection of songs from across the country.
Compiled by Vik Sohonie & Dave 'Mr Bongo' Buttle, the story of this release began in 2015 when Dave happened upon the Soul Bonanza blog. A treasure chest of rare finds from around the world! One mix in particular stood out and totally enthralled Dave - le monde à change: a tribute to mali 1970 - 1991. He
already knew of Malian legends such as the Rail Band, Salif Keita, & Les Ambassadeurs du Motel de Bamako, but this mix was something else! Deep & culled from the collections of some of the heaviest African music collectors in the world, legends like Vik Sohonie, Hidehito Morimoto, Philippe Noel, Gregoire
Villanova, and Rickard Masip. Dave immediately contacted Vik and a journey of discovery tracking down the rights-holders began. He also turned to the font of Malian music knowledge, Florent Mazzoleni. Florent has written the definitive book about Malian music - 'Musiques modernes et traditionnelles du Mali'. He
proposed some incredible tracks to include and provided the back bone of the sleeve notes and photos that are used in the album. No Malian album would be complete without a striking front cover photo, and ours is sourced from the late great Malian photographer Malick Sidibé.
On this album you will find well-known artists sitting next to rarer
discoveries. The Rail Band, who are one of the best known of all the big bands in Mali, gave us the stars Mory Kanté and Salif Keita. Les Amabassedeurs du Motel de Bamako were another big act that had Idrissa Soumaoro, Kanté Manfila, and for a while Salif Keita in their ranks. Sometimes Salif would play in both bands in one night, quite a feat considering the bands were fierce rivals. As an albino Salif has had to face considerable prejudice from society, focussing on his musical career to help overcome this.

A major discovery on the album has been Idrissa Soumaoro et L'Eclipse de L'Ija. L'Eclipse de l'Institut des Jeunes Aveugles was a Blind teenagers institute and their record was produced by the German association that took care of blind Malian teenagers in Bamako. It was never properly released commercially and was the first recordings by the legends of Malian music Idrissa Soumaoro, Amadou Bagayoko and Mariam Doumbia. Amadou & Mariam later got married and became household stars, including making an album with Manu Chao.
This album is a concerted global effort to showcase the most vital cornerstone of Malian culture in an attempt to preserve its reputation in the face of its current, grim reality. We hope our highlights of Mali's rich history of musical innovation will serve as a starting point for reclaiming an image tainted by unnecessary conflict. May peace and music return to Mali soon.
Dedicated to Malick Sidibé.

Das neue Album kommt wieder via International Death Cult in Zusammenarbeit mit Kobalt Music Recordings und ist eine deutliche Weiterentwicklung. Ein klares Statement, angefüllt mit den schönsten Melodien, die sich über Tage im Gehör festsetzen.
Mit dem neuen Album zieht Carter endgültig in die Ruhmeshalle der großen britischen Antihelden ein. 'Modern Ruin' zeigt Carter als den ultimativen Rebellen, den Außenseiter und Kämpfer, der sich kontinuierlich gegen jedwede Konvention auflehnt.

SONAR is a unique and fresh trip-hop, electronic debut from Poland. The band, consisting members of duo Rysy, band Skalpel, wonderful newcomer vocalist - Lena Osinska and the best Polish rappers (Ten Typ Mes, Rasmentalism, Otschodzi), created their own style which is often named as an urban music or music of a city.

Um 1970 war die Wiederbelebung der Volkslieder beendet. Vorbei waren die berauschenden Tage von "Will The Circle Be Unbroken" und "If I Had A Hammer". Hootenanny wurde abgesagt. Broadside war draußen, Rolling Stone in. Richard Fariña war tot, Bob Dylan hatte sich angeschlossen. Pfade, die von Joan Baez und Judy Collins gepflastert wurden, führten eine jüngere, introspektere Generation von Songwritern in den Wald, während das Ethos, das in wettergeplagten Hügeln geschmiedet und auf Lower Eastside von Manhattan angelassen wurde, wurde in den Schluchten von Kalifornien wiedergeboren. "Ladies From The Canyon" fasst die Werke von 13 unwahrscheinlichen Heldinnen dieser Ära zusammen.

Semantics of techno meets the mysterious desire of the Columbian jungle. Produced by Dani Boom (Systema Solar) & Felipe Alvarez (Polen Records). A limited edition 12'
(500 copies) in a black sleeve with a full-colour label
Daniel Broderick has been developing this collaborative project, inspired on the poem by acclaimed Columbian poet Raúl Gómez Jattin featuring Juan Carlos Puello 'El Chongo'.
He spent some time in Europe as a teen and was exposed to the rave scene, and when he returned home to Columbia became one of the architects of the Bagota rave scene. More widly known as Producer and DJ for Systema solar, who are one of Columbias most explosive live acts and have garnered support from the likes of Gilles Peterson and Lefto.
A hypnotic beat and a deep sound. The voice of Chongo stands out. He also interprets the alegre drum in this piece. El Leopardo brilliantly morph urban dub textures together with sparse Colombian percussion, spoken incantations and deep, hypnotic bass. El leopardo is like power from the wild.

Early-eighties Island boomshot from the Exile One founder, setting his soulful vocals to a stepping groove with finger-popping boogie-bass.

The first volume gathers traditional music from different areas of the Indonesian archipelago, featuring music from Sulawesi, The Moluccas Islands (Spice Islands) and Central Java. In the first track from Sulawesi ( Gandrung Bulo'), the lead is taken by the percussion made of bamboo drums, later joined by two male voices in the second track. This is traditional entertainment music which is typically played at weddings, feasts and others special occasions. The last track is an instrumental one featuring the story-telling of an epic ballad. The singer is playing a traditional Indonesian instrument called Sinrili.The track from the Moluccas ( Tjakalele: War Dance') is a typical Warrior Dance, and it is recorded in the main city of Maluku Islands. The music from Bali is performed by a chorus of seventy-eight men sitting in circle around the actors, during the representation of the so-called Ketchak (Monkey) Dance, which is still a big attraction for travellers coming to Bali. The selection from Central Java is a traditional piece called Perdjuritan dance ( Perdjuritan'), which is some sort of a soldiers' dance. It is performed by a traditional Javanese orchestra (called Gamelan) which consists of drums, metal rattles and whistles. The last sample is recorded in the capital city of Jakarta and represents an example of the so called Sundanese music, typical of the western region of Java. Another example of traditional old entertainment music to be played during various festivities.

The selection in this second volume covers music from the vast island of Sumatra (West Indonesia), The Moluccas Islands and the island of Bali. In the first sample from Sumatra ( Gondang Mula Mula'), recorded near the awesome Lake Toba, we find a ceremonial overture played during weddings and special occasions. The band is comprised of four instruments: two 'Ketchapis' (sort of a two-string ukulele), one 'Serenar'(a wind instrument) and one simple metal spoon tapped against a glass bottle. The second track ( Andung Andung') is instead music conceived to put people in the right mood for working in the fields, or boating on Lake Toba. Some sort of predecessor, if you will, of the Ayo kerja' slogan and movement. The third track ( Hasa Hatan') is a coda to all ceremonies in the region, and carries a benediction.The track from Moluccas ( Menari Sawat') is a Muslim traditional dance from the area (menari), while sawat is the name of this type of music. The recording is taken in a small fishing village.We then move to Bali, where the first track ( Pubradaya') is a sitting dance performed by a local Gamelan Orchestra. The following four tracks ( Barong Dance - Preren/Omang/Castel and Sadewa') are all part of a suite of drums and gamelan music performed for the dance of a Barong, which is a mythical creature represented as half lion and half dog. Statues of barong are everywhere in Bali, typically near the gates or the entrance to palaces, temples ( pura') or important places and landmarks. The last two pieces are typical Cremation Music played on the Tower at the Cremation Ceremonies in Bali, extremely interesting and unique. In the first of the two samples we have two instruments while in the second we have four.

Richard Bona was born into a family of musicians, which enabled him to start learning music from a young age. His grandfather was a griot - a West African singer of praise and storyteller - and percussionist, and his mother was a singer.

Richard Bona remains true to his roots with African rhythms reflected in each of his albums, Reverence is the second studio album originally released in 2001 and displays his unique approach to storytelling through sounds. His unique style is situated at the crossroads of a horde of influences - jazz, bossa nova, pop music, afro-beat, traditional song, and funk.

The song Reverence (The Story of a Miracle)' features a guest appearance by prominent jazz guitarist Pat Metheny.

How do you follow up a stone-cold Afro Funk classic like Village Boogie Simple. Gather together some of the hottest players in Nigeria, take them down to the Phonodisk studios in Ijebu Igbo and let them loose on a bunch dancefloor fillers you spent the last four years 'road testing' in Kaduna. And don't forget to get Lady Franka and Mariam Pledge in on backing vocals. Those girls know how to fire up a party. It helps, of course, if you're Steve 'Dudu' Black. Steve had a God-given knack for writing combustible dance tunes and the contacts in the industry to get the likes of Willy Nfor, Willy Roy and Felix Lebarty to make them explode. From the opening track, 'Osasuima', the heat never stops. On 'No Stopping Me Now' and 'Ololufe/ Stay The Night', it's almost too hot to handle. Polished in a studio in London while Musical Youth recorded Pass The Dutchie in the next room, Happy Birthday To U is the gift that keeps on giving - an irresistible blend of Highlife, Afro Beat and Afro Funk that is guaranteed to start a party on any dance floor. - Peter Moore.

How do you follow up a stone-cold Afro Funk classic like Village Boogie Simple. Gather together some of the hottest players in Nigeria, take them down to the Phonodisk studios in Ijebu Igbo and let them loose on a bunch dancefloor fillers you spent the last four years 'road testing' in Kaduna. And don't forget to get Lady Franka and Mariam Pledge in on backing vocals. Those girls know how to fire up a party. It helps, of course, if you're Steve 'Dudu' Black. Steve had a God-given knack for writing combustible dance tunes and the contacts in the industry to get the likes of Willy Nfor, Willy Roy and Felix Lebarty to make them explode. From the opening track, 'Osasuima', the heat never stops. On 'No Stopping Me Now' and 'Ololufe/ Stay The Night', it's almost too hot to handle. Polished in a studio in London while Musical Youth recorded Pass The Dutchie in the next room, Happy Birthday To U is the gift that keeps on giving - an irresistible blend of Highlife, Afro Beat and Afro Funk that is guaranteed to start a party on any dance floor. - Peter Moore.

Its early 2015. Welcome to Africa Seven. We are a new record label. We may be based in Paris and London but our hearts firmly rooted in the universal motherland. We love African music, we want everyone to hear it and we want to spread the love. We are a collective of crate diggers, afro music-heads, label spotters and vinyl buying obsessives. We don't have any particular musical release agenda apart from, "is it of African origin, does it have a beat, do we like it". For the first few releases on Africa Seven we are exploring a rich seam of creativity and groove from the 70's. Stand by for re-issues from Manu Dibango, Jake Sollo, Jo Tongo, Pasteur Lappe and Tala AM to name but a few.

Trying to decide our first release was a long drawn out affair. Everyone had their favorites...;. Would it Manu, Tala, Ray, Jake or Jo In the end we just couldn't decide. To keep the peace we settled on a taster compilation called "African Airways Vol 01". Think of it as a statement of intent. A sample of aural treats in store. As for the cheesy name, well...;.. we like African Music, who doesn't like air hostesses and we are aeroplane geeks. It was a no-brainer really.

Volume 1 of Africa Airways focuses on the funkier side of 70s African music. We can't think of any better way to start an African compilation than some pounding, powerful, masterful African drumming. Thank you Ekambi Brilliant, you sure know how to set up an opening track. Next up we jump to the Cameronian king of the Tchamassi dance, Tala Andre Marie (Tala AM is his snazzier moniker). "Black Gold" is a track that really says it all. Cant-sit-still grooves, masterfully jangly guitars and a really cool nascent use of synthesizers. Is it possible to play a song over and over again 300 times - we think so. Elvis Kemayo is next up with the funky assault. Big brass, big basslines and happy times. Cameroonian native Jo Tongo, now lives in New York but back in the 70s he was part of the Fiesta label massive who were cranking out great records in Paris. "Jangolo" is quite possibly his finest moment. Keeping things Cameroon to finish up side one is the Saxophone master Manu Dibango. "Mimbo" is jazzy, darty gem. Manu recently turned 80 and celebrated with a series of gigs. A true afro legend with over 30 albums to his name. Quite a few have never been re-issued since the 70s and they are now patiently queued up on our release schedule.

Opening side two of our vinyl is Jo Bisso. Give It Up is a funky, brass however from 1977 on the Disques Esperance label. Next up is "Mbongui". Did you think a flute in African music could sound this funky Nigerian Jake Sollo met with an untimely death but his music lives on. Jake was a leader of one of the first wave of funky afro bands to come out of Nigeria in the early 70s, "The Funkees". "Father Time and Mother Nature" retains all those key elements of what made his band so successful. Sookie are next up with their US style funk...; but with an African twist. To finish up the LP Paris based "African Soul Band" bring out the dark strings, chanted Senegalese vocals and mirroring marimbas for their epic closer "Nande" from 1978.

Stay tuned for more Africa Seven releases on CD, Vinyl and Digital. Our next release is from the Cameroonian Saxophone master Manu Dibango with a rare 1977 Film Soundtrack "Ceddo". Think thoughtful, brooding afrobeat meets Shaft.

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We are more than ten releases in here at Africa Seven. It has been a wild ride... It was eight months ago that we launched our label and released our debut release the Compilation "Africa Airways 01: Funk Connection". It did better than we ever imagined and we had to repress the darned thing twice... So predictably for a follow up we humbly present you with "Africa Airways 02: Funk Departures 1973-1982". We have unashamedly stuck to the formula of our debut; keeping the funk deep and the groove pan-African. Heading straight for the afrobeat, dance-funk jugular.

We open up Volume Two with an absolute corker... "Na Real Sekele Fo Ya" from Cameroonian-in-Paris Pasteur Lappe. Produced by Jacob Desvarieux of Kassav fame, this track is an instant grabber; Think of the Blockheads "Rhythm Stick" goes Afro chant with deep, soulful moog grooves and on-point brass stabs. Next up is M'Bamina an Italian / Ivory Coast band who swing things heavy with "Kilowi Kilowi". Sweeting strings, funky bass lines wrapped around a late 70s style disco groove.

Ekambi Briallant is next up with his floor tappingly catchy afro soul "Aboki (Mon Copain)", produced by one of our favorite producers Slim Pezin. To round off the A-side of the vinyl we present the first outing from the Makeba family. Here the (sadly prematurely departed) Bongi Makeba, daughter of "Mama Africa" Myriam Makeba, shows the world just what an amazing artist she would have developed into. Bongi wrote a fair number of her mother's tracks in her later years and "Don't Do It" shows us what true talent for the song she was blessed with. The track her powers along with wah-wah guitar and masterful alto sax. A real treat.

Friend of Africa Seven and Cameroonian native Jo Tongo opens thing up on Side B. Jo now lives in New York but back in the 70s he was part of the Fiesta label collective who were cranking out great records in Paris. "Piani" is his purest dancefloor moment, here again in full glory.Next up we bend our African remit ever-so slightly and head off to Holland for a James Brown style fuelled funk stomper "Relax.. Before Doing Sex" from Oscar Harris and his crew. Its big, its bold, its brassy...;.. It's fun.

The power trio of Bozambo are next up. Between them they have released over 12 solo LPs and here together with "Get it On The Music" they power through with a keyboard/synyh driven afro-funk groove years ahead of its time...; made in 1978 but sounding like 1984. Misse Ngoh is one great guitarist and a masterful adaptor of the Makossa rhythms of his native Cameroun. The title track from his Esperance 1979 LP "Tata Ngoh" mixes in his trademark rhythms and grooves with slap bass and striking brass lines. One heck of a catchy song too.

A replica of the inaugural release from the Nutmeg label, with the original's music and cover transported intact from 1989 Tokyo. Recorded live-to-tape in a small bar in Shimokitazawa, this release features two loosely swinging, loving covers of the classic songs "Just You Just Me" and "South of the Border". The melodic and wistful melodica of Pianica Maeda, who appears on the Tomatos 7" (EMC004), is accompanied here by a group billed as Good Baites, which was organized by Kiyoshi Matsutakeya, the leader of Tomatos. Also present, supplying some fine upright bass work, is the renowned Takayoshi Matsunaga. A lovely, pleasing record.

Originally released in 1962, this compilation is the definitive collection of Wanda Jackson's rocking, rockabilly sides. Featuring her finest singles, including "Fujiyama Mama," "Mean Mean Man," and "Hot Dog! That Made Him Mad," this is Wanda at her lascivious, snarling best. Often referred to as The Queen Of Rockabilly' if ever there was a need to prove that title for Wanda Jackson, this compilation is Exhibit A. Reissued on 180 gram LP with download code and 4 bonus tracks.

Night Visions is a collection of stories which dance alive over an infectious blend of Afro-Latin rhythms and contemporary dancefloor beats. Told by a variety of characters, drawn from the vibrant imagination of Chico Mann, these stories take place in an endless night, where we move through dimly lit clubs, jungle moonlight, pitch black desert plains, and the internal shadows of personal darkness. While the characters often stumble and search blindly in the dark, the persistent presence of a distant light provides an underlying direction and hopefulness to all the songs. Captain Planet's production, informed by his regular crowd-moving DJ sets, keeps the album sounding effortlessly danceable & contemporary. Meanwhile, Chico's vocals have an instant classic appeal, hinting at old Cuban rumba and vintage Afrobeat LP's. The two are aided by guest vocals from regular collaborators Kendra Morris & Brit Manor, as well as some talented friends who contributed additional horns, guitar & marimba.

Night Visions highlights the creative symbiosis of two of the biggest names in contemporary alternative Latin sounds. The result is a truly unique album that speaks as much to listeners who don't understand Spanish as it does to old abuelos. The feelings and rhythms that flow through these songs are universal, appealing to hearts and hips all around the world.

Chico Mann has created a musical time machine that simultaneously fuses the sounds of 1970s Afrobeat, 1980s Freestyle and Afro Cuban in a hybrid beast of culture and tone. Its the big 'what if' Freestyle, Afrobeat & Afro Cuban converged and hit the mainstream for an army of Chicos to pick up where Stevie B, TKA, George Lamond, Sa-Fire, Information Society, Noel, and Cult Jam, and Expose left off. Chico's choruses of multi-layered vocals with funky guitar lines helps to cool off the heat created between the bass and rhythm... creating a unique conversation of color and value that pays homage to the past but raises the bar for the future.

Captain Planet is a world travelling DJ & music producer who blends global roots music styles with forward-thinking hip-hop, dancehall and electronic beats. After cutting his teeth in the competitive New York City club scene, he went on to host a popular radio show on WNYU Radio, and started the globally renowned music blog www.MixtapeRiot.com. He has released 3 full-length albums featuring his trademark "Gumbo Funk" sound on Bastard Jazz Recordings, and can be heard on the soundtracks to multiple popular TV shows such as "Orange Is The New Black", "Entourage" and "CSI:NY" to name a few. In 2016, his song "Un Poquito Mas" featuring Chico Mann was featured in a major Honda ad campaign and passed a million plays on Spotify. The success of that song, in conjunction with Chico Mann relocating to Los Angeles, encouraged the two artists to focus on a full collaboration album together.

Night Visions is a collection of stories which dance alive over an infectious blend of Afro-Latin rhythms and contemporary dancefloor beats. Told by a variety of characters, drawn from the vibrant imagination of Chico Mann, these stories take place in an endless night, where we move through dimly lit clubs, jungle moonlight, pitch black desert plains, and the internal shadows of personal darkness. While the characters often stumble and search blindly in the dark, the persistent presence of a distant light provides an underlying direction and hopefulness to all the songs. Captain Planet's production, informed by his regular crowd-moving DJ sets, keeps the album sounding effortlessly danceable & contemporary. Meanwhile, Chico's vocals have an instant classic appeal, hinting at old Cuban rumba and vintage Afrobeat LP's. The two are aided by guest vocals from regular collaborators Kendra Morris & Brit Manor, as well as some talented friends who contributed additional horns, guitar & marimba.

Night Visions highlights the creative symbiosis of two of the biggest names in contemporary alternative Latin sounds. The result is a truly unique album that speaks as much to listeners who don't understand Spanish as it does to old abuelos. The feelings and rhythms that flow through these songs are universal, appealing to hearts and hips all around the world.

Chico Mann has created a musical time machine that simultaneously fuses the sounds of 1970s Afrobeat, 1980s Freestyle and Afro Cuban in a hybrid beast of culture and tone. Its the big 'what if' Freestyle, Afrobeat & Afro Cuban converged and hit the mainstream for an army of Chicos to pick up where Stevie B, TKA, George Lamond, Sa-Fire, Information Society, Noel, and Cult Jam, and Expose left off. Chico's choruses of multi-layered vocals with funky guitar lines helps to cool off the heat created between the bass and rhythm... creating a unique conversation of color and value that pays homage to the past but raises the bar for the future.

Captain Planet is a world travelling DJ & music producer who blends global roots music styles with forward-thinking hip-hop, dancehall and electronic beats. After cutting his teeth in the competitive New York City club scene, he went on to host a popular radio show on WNYU Radio, and started the globally renowned music blog MixtapeRiot. He has released 3 full-length albums featuring his trademark "Gumbo Funk" sound on Bastard Jazz Recordings, and can be heard on the soundtracks to multiple popular TV shows such as "Orange Is The New Black", "Entourage" and "CSI:NY" to name a few. In 2016, his song "Un Poquito Mas" featuring Chico Mann was featured in a major Honda ad campaign and passed a million plays on Spotify. The success of that song, in conjunction with Chico Mann relocating to Los Angeles, encouraged the two artists to focus on a full collaboration album together.

It's fair to say that the inclusion of Iganda's sole 7" single "Mark of Slavery" / "Slow Down" spread across the first two volumes of the "Midlands Roots Explosion" series, has not only greatly raised the profile of the band, but also sent the price of the original release through the roof. At its heart, reggae is a singles based music and although we've made the two tracks available on vinyl, CD and digital download, there are many reggae lovers who would like "Mark of Slavery" and "Slow Down" available again on the original format.

An obscure double sided roots gem from the golden age of the Midlands reggae scene.

'A Paraiba Não É Chicago' is a smasher from the very first beat! Golden era Brazilian boogie by Marcos Valle from 1981, with a brilliantly hooky chorus section. Originally released on his 'Vontade De Rever Voce' LP. 'Não Quero Mais' is VERY reminiscent of The Doobie Brothers 'Long Train Running', delivered in a Brazilian style - vintage disco-boogie vibes but with
a more soulful chorus section. Originally appeared on Don Beto's 'Nossa Imaginação' LP from 1978.

Most bands with a history that stretches back four decades are content to go through the motions, their creative peak somewhere in the past, not Talisman. Their new album includes some of the strongest material they've ever recorded, with seven brand new songs and the corresponding dub counter parts, this is their finest album to date.

With such strong material we knew we had to pull out all the stops when it came to the final mixes and who better than legendary musician, producer, engineer and all round British reggae genius Dennis Bovell (Matumbi, Steel Pulse, Linton Kwesi Johnson, Aswad, Madness, Orange Juice, The Slits) who has taken the songs to the next level and given us the strongest British reggae album in years.

The album kicks off with "Relijan", a roots anthem with lyrics that resonate with contemporary relevance whilst the music has the timeless feel of the best seventies roots. This track raises the game for Talisman and puts them on par with such British greats as Aswad, Steel Pulse and Misty in Roots at their best, without doubt destined to be seen as a classic of the genre. The pace and the lyrical intent doesn't let up: "Talkin' Revolution" is a brand new song yet imbued with the feel and vibes of early eighties Talisman."She Look like Reggae" is a charming piece of observational song writing that rewards repeated listening with hidden depths and use of a full horn section.

It's hard to overstate Dennis Bovell's contribution to British music, reggae in particular and we can't think of anyone more qualified to mix these tracks. Dub mixes really are his forte and the seven dub versions here, deliver in every way, true dub re-imaginings and not mere afterthoughts

Tearaway sufferers anthem, roaring out of the blocks in 1989.
Piercing, unforgettable song-writing by the Tetrack spar — jam-packed with anecdote, observation and warning — over a sick, breakneck, apocalyptic rhythm, with an ace dub. A digi classic.

After 25 years of silence, the Ethiopian legend Girma Bèyènè is back alongside one of the best ethio groups Akalé Wubé. Comes in a Double LP gatefold 180g vinyl!
Girma Bèyènè is a true legend when it comes to Ethiopian music. After an exile to the United States and a radio silence that lasted 25 years, he jubilantly accepted the invitation from the French group Akalé Wubé to return to the spotlight and perform once more. The comeback took place last September during a memorable concert alongside Akalé Wubé at the Studio de l'Ermitage (Paris 20). French medias like Tracks (Arte), Le Monde, Libération relayed this major event, which aroused many strong emotions amongst fans of Ethiopian Music. The adventure could not stop just yet.

The first-ever compilation of "Xabagies", the nearly forgotten Hawaiian-influenced music of 1930s Greece, focused on the compositions of Kostas Bezos and his ensemble White Birds. A world-class slide guitarist, political cartoonist, and sleepless bohemian, Kostas Bezos created some of the most unique music of any era: surrealist guitar portraits blurring Athens and Honolulu, haunting tropical serenades, wild acoustic orchestras, and heartbreaking steel guitar duets.
The LP includes a 28 page booklet with extensive notes by Tony Klein and Dimitri Kourtis, unpublished photographs, lyrics, obituaries, and a bonus CD containing 18 additional tracks. Mastered from original 78s by Michael Graves. Co-released by Olvido Records, edition of 1000

A fresh project from the Nilamaye crew — crossing currulao, art-rock and jazz.
Silk-screened sleeves.

2 track Single from Don Drummond & The Skatalites released by Dub Store Records

Ekambi Brillant was born in the village of Dibombari in Cameroon in 1948. In 1962 he attended school in Yaounde and learned his musical craft. In 1971 he heads off to the big city lights of Douala. Here he finds himself in a French TV, music competition hosted at "Le Domino" nightclub. It is here where he brushes shoulders with other Cameroonian music legends such Manu Dibango and Francis Bebey.

The music contest win gives him the break he needs and in 1972 and with the support of fellow troubadour JK Mandengue he finds himself with a record deal with Phonogram and his first hits in France.

Its in 1975 where we pick up this merry tale. Because it is in 1975 when things start to get a bit funky. Which is just how we like it here at Africa Seven. In partnership with French producer, guitarist and all around hero, Slim Pezin he creates the "Africa Oumba" album. He goes on in the two subsequent years to record the Soul Castle and Djambo's Djambo's albums also with Slim.

Our compilation focuses on the funkier end of Ekambi's music drawn mainly from the 1975 to 1978 period. Things open up with our theme tune "Africa Africa" (of course). It's tribal twisted psych funk is the perfect start to any album. We then move to "Aboki" possibly Ekambi's finest dance floor filler. Next it's the choppy disco strings and slap bass of "Nyambe" and the swirling African swing of "N'Kondo" and the pulsing chop-funk "Ekila".

The flip side starts off with "Soul Castle" an ordinary day tale for our hero. "Massoma" and its funk boogie get things bopping next up before "Machine Ma Bwindea" gives us some punchy brass and low slung funk grooves. "Mother Africa" shows us the songwriting power of Ekambi while also managing to have one of the funkiest flange basslines we have heard in a good while. Things close off with swing-time of "Lambo Lena".

Ekambi Brillant would go on to become one of the big name legends of Cameroonian music with nearly 20 albums to his name. He has contributed to the emergence of several Cameroonian artists such as Marthe Zambo, Valery Lobe, Aladji Toure and Africans. He now spends his time in Cameroon and Washington DC. Ekambi, we salute you sir.

2 track Single from Federal Singers released by Dub Store Records

Murderous Arabic scaled, pitch-bending, instrumental synth and lute from the Sahara desert. Playful electronic drums combine with gothic tinged organ freakouts and quivering electric banjo' to create an anachronistic trance music. Mauritanian WZN (literally instrumental music') has emerged as pop music, blaring out of taxi cabs and cassette shops throughout the country. These are two of the genres biggest stars: griot Jeich Ould Badu, playing a hacked traditional lute with built in phasers and pre-amps, and synth wizard Ahmedou Ahmed Lewla, on an Arabic scaled keyboard. Hypnotic and infectious, transporting Mauritanian classical music into technological futures, like a drug free baroque rave under the open air of the Sahara. Originally released on cassette, this is the first international release ever of the celebrated regional genre. Vinyl edition of 500 with handmade covers.

2 track Single from Little John released by Dub Store Records

'Se´lection des musiques traditionnelles d'Afrique' is a live recording session of ritual dance from Italian composer Luca Garino and the first release on tape of Details Sound.

A fascinating musical document that incorporates percussion ensembles, rural soundscapes and improvisation taken from the traditional African heritage of C.N.R.S. and Ocora catalogues.

The selection reveals the artistic practice and tireless research of the Turin based artist who is locally renowned for the most diverse contributions to the experimental music scene.

Details Sound is a Milan Turin based record label run and founded by Giuseppe Magistro A HAND and Matteo Fabbri.

2 track Single from Prince Junior released by Dub Store Records

The second of two EM Records 12" "tribute releases" in support of the Kuzoku film "Bangkok Nites", this time by rap group stillichimiya, local heroes in their Yamanashi homeland. Based on samples from Dao Bandon's biggest hit, the classic luk thung Isan tune "Man on a Water Buffalo" (EM1131CD/LP), the tracks here, including a remix by Compuma, are a grittier, real-world counterpart to the dreamy first release in the series.

"In Cape Verde, we had no access to electronic instruments," said Tchiss Lopes, a Cape Verdean singer baed in Rome. "In Europe, we had access, but we had to adapt. Audiences expected electronic sounds, but we still stayed true to our sound."

"At first, the music was just to cater to Cape Verdean immigrants, but soon, people of Napoli especially started feeling it, then Rome."

In the 1980s, that feeling transpired across Lisbon, Paris, Rotterdam, and Boston, as one the largest waves of migration from a single country, propelled by political instability and economic uncertainty, sent thousands of Cape Verdeans to the West's cities.

Through 18 diverse tracks, this compilation reveals how immigration from the Cape Verde Islands to Europe and the United States gave us an alternate history of the electronic music that dominated hearts and minds across the world in the late 1990s. But the story doesn't start in a major Western cultural hub, rather in the small cluster of islands 400 miles off the Senegalese coast, and offers an unparalleled insight into the longterm cultural splendor catalyzed by migration.

Movement and mobility are intrinsic aspirations of the human condition. What we've come to know as immigration is as old as civilization. Yet today we measure immigration through a series of cold data. Immigrants are either condemned as disposable threats or celebrated as entrepreneurial treasures, rarely occupying a space in between.

Seldom do we peer back into the past to examine the tangible and timeless creations born from the movement of peoples, overlooking cultural innovations arguably ahead of their time, precursors to consuming global trends.

Cape Verde today is justifiably hailed as an African political success story, but things were different in the 1980s.

A war of independence from Portugal was won in 1975, and Cape Verde suffered the familiar ills of a society born from colonialism and slavery struggling to integrate into a globalized world.

This detachment fostered a yearning to integrate, to connect in anyway possible. The new found homes in the multiculti metropoles of Europe offered little respite. Cape Verdean immigrants were deemed "hot blooded," and perceived as "dropouts" and "juvenile delinquents."

The ready availability of electronic instruments, a doorway to a long denied 'modernity' and an anchor in their adopted homes, was seductive.

"Cape Verdeans were celebrating their independence and with that the dancing became even more important," said Val Xalino, an unsung pioneer in the development of his country's electronic sound, based in Gothenburg, Sweden. "People wanted to hear something different. They wanted the synthesizer!"

Emigre musicians began traveling to and from Europe and their home islands, their luggage containing stock of synthesizers and MIDI instruments. Travel to the countryside to learn the rhythms of rural farmers became common. The melodies of the charmingly off-tune, often damaged accordions were transplanted onto synthesizers.

A cultural supply chain was established. Largely detached from global capitalism, music perhaps was, and in many ways still is, Cape Verde's most effective gateway to synthesize with the world, immigration the engine and lifeblood.

The hearts and minds of a musically-inclined people were captured. One mercurial youngster, Paulino Vieira, arguably Cape Verde's most important musician, the real mastermind behind the islands' melodic majesty, was especially drawn to keyboard instruments, having honed his skills at a Catholic seminary. He arranged or contributed to half the songs in this release.

Vieira was an integral member of Cesaria Evora's backing band, and while her cavaquinho-driven traditional songs registered Cape Verde as a cultural force worldwide, an electronic movement burgeoned just beneath the surface.

It soon found its headquarters in Lisbon, where Vieira had emigrated at age 18 to lead a reworked Voz de Cabo Verde, the commanding, enigmatic ensemble that enticed Cape Verdean musicians from around the diaspora to collaborate.

"Paulino was the most visionary," said Elisio Gomes, a Paris-based singer who collaborated with Vieira often. "He always had this gift to be 10 years ahead of his time. That's why our music sounds like it was produced today."

Largely overlooked outside the Lusophone realm, Cape Verde's Astro-Atlantic gumbo of instrumentation and rhythm offers a timely lesson of migration's power to produce cultural innovations ahead of its time.

This unknown, ultra-progressive sound could not have been perfected without the induction of Cape Verde's artistic human capital into the West.

As we watch with heavy hearts the tragic crisis unfolding across the Mediterranean, as people fleeing similar circumstances strive to settle in Europe, a measured hint of patience will ultimately justify their vast inclusion. There are poets, writers, artists, thinkers, and, of course, musicians, raised in an age of technology, that are making the treacherous journey by boat, or by land on foot, from Syria, Eritrea, Libya, Iraq, and elsewhere. Paulino Vieira's heir, and lush cultural innovation bound to bear the same fruit, lie among them.