Afro

Qhum Qhaks

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New material by Sandy B! South African Kwaito inspired music on this one....check out "Qhum Qhaks" which is a favorite here...!Sandile Bhengu comes from Durban, South Africa, where he in the middle of the 90’s released his debut kwaito album Amajovi Jovi under the moniker Sandy B. During the following decades he would move actively within the local music scene and touch a variety of genres including afro-pop, deep house, R’n’B and Soul.In the mid 2010’s around 20 years since its release crate diggers and DJ’s across Europe and North America started dropping tracks from Amajovi Jovi. In late 2017 the album was reissued on Canadian label, Invisible City Editions giving a new lease of life to a forgotten classic and giving this once little known artist an international reputation.Following the successful re-issue of the 1995-album Sandy B returns to the forefront of music with original material 24 years later in the form of Qhum Qhaks.Qhum Qhaks comes from a close collaboration between Sandy and Danish DJ and collector Simon Lundsgaard a.k.a Simone Ahà. All songs were recorded in Sandy’s home studio to stick close to the ethics and production techniques of the 1995 classic. The material that emerged from this experimental process between the two of them captures the spirit of old school kwaito from the 90’s.Vumbuka Records was founded by Sandile Bhengu & Simon Lundsgaard in 2019 especially for the release of Qhum Qhaks. The vinyl release of Qhum Qhaks contains seven original tracks and a download code with three extra bonus tracks.

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VUM 001

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22.00
Tracklist: 

Side 1
1. AmaYellow Bone
2. Shona Phansi
3. Bhatara/Yim ‘Ophethe
Side 2
1. Qhum Qhaks
2. ikokela Rundkreds
3. Sandy B & Msawawa
4. Botoza

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The Mauskovic Dance Band

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Soundway Records presents the 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.

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SNDWLP 130

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26.00
Tracklist: 

Side 1
1. Drinks By The Sea
2. Space Drum Machine
3. Same Heads
4. Dance Place Garage
Side 2
1. Alto In Vacanza
2. Late Night People
3. Percussione & Spazio Sounds
4. It's The Wrong Goodie

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African Voodoo

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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!Vinyl only / Limited press / Mastering by The Carvery / Interview by Jacques Denis

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HC 63

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1
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25.00
Tracklist: 

Side 1
1. Groovy Flute
2. Soul Saxes Meeting
3. African Pop Session
4. Walking To Waza
5. Out Of Score
6. Ba-Kuba
Side 2
1. Zoom 2000
2. Aphrodite Shake
3. Wilderness
4. Jungle Riders
5. Iron Wood
6. Coconut

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Re-Issue
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Al Hadaoui

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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).Attarazat Addahabia & Faradjallah's album came to us as quite a mystery. Our friends from Radio Martiko got access to the studio archive of the Boussiphone label and a reel labeled “Faradjallah” was among the items they had found there. After listening to the selection of reels they borrowed, Radio Martiko felt it was not a fit for their label and helped us licensing it from Mr. Boussiphone instead. We knew nothing about the band. We just had the reel with the music but very little information. What we knew was that the music was incredible and very unique. Gnawa sounds were combined with funky electronic guitars, very dense layers of percussions and female backing vocals more reminiscent of musical styles further south than Morocco. We started asking around whether anyone knew the band with no immediate success until we asked Tony Day, a musician from Morocco who helped us during our search for Fadoul’s family. His sharp memory came through once again, remembering all the names of the Attarazat Addahabia band members and even how to contact the bands singer and leader Abdelakabir Faradjallah. After visiting him at his home in Casablanca with our Moroccan colleague Sabrina multiple times, he shared his personal story. His father arrived in Casablanca from Aqqa at the age of six and his mother came from Essaouira. Abdelakabir was born in the neighbourhood of Benjdia in 1942. Abdelakabir Faradjallah studied fine arts in Casablanca, graduating in 1962. He also played soccer in the second team of "Jeunesse Societe One". His brother-in-law Ibrahim Sadr worked for one of the biggest football teams of the time in Morocco called "Moroco Sportive Union", which allowed him to travel to France occasionally. While Ibrahim was never part of the band he brought along a few instruments from trips. Yet the majority of the instruments they could not afford to buy were build by Faradjallah and Abderrazak, Faradjallah's brother who passed away early. For instance they had built a Spanish guitar and a drum made of wood barrel and sheepskin by themselves.During the 1950s Faradjallah was booked as a singer for surprise parties with friends. He started to write his first songs including "L’gnawi" in 1967 and wanted to make people discover Gnawa culture, or maybe rather his take on the culture to be more exact. Faradjallah recalls his first interaction with the genre in the streets of the Dern neighbourhood, where he used to go to elementary school. Gnawa is one of the essential musical genres of Morocco. It combines ritual poetry with traditional dances and music linked with a spiritual foundation. Musically a lot of influences originated from West Africa as well as Sudan. Gnawa is usually played by a selection of specific instruments such as the qaraqab (large iron castanets centrally associated with the music), the hajhouj (a three string lute), guembri loudaâ (a three stringed bass instrument) and the tbel (large drums). People would put shells on their clothes and instruments and use incense at their parties. "Sidi darbo lalla - lala derbo khadem..." came from Gnawa verses Faradjallah used to sing when he was 14. The lyrics tackle a global (im)balance of power and the question of social status in this course. The band Attarazat Addahabia was formed in 1968. The original line-up included 14 members, all from the same family. They played their first small concerts here and there starting in 1969. Later in 1973 they performed bigger shows for instance at the Municipal Theatre followed by the "Al Massira Show" at Velodrome Stadium in downtown Casablanca. Their first album "Al Hadaoui" (the one you are listening to) was recorded at Boussiphone studios in 1972 and was never released before. Nobody seems to remember the exact reason why Boussiphone ended up deciding not to put the album out. The album's title track also served as the basis for Fadoul's "Maktoub Lah", who frequented the same circles as the band for some time. Their shows sometimes could go as long as 12 hours, starting at 5pm in the afternoon, with an occasional break here and there. In the 1980s the band took a brief break. Faradjallah recalled the reason for that break like this: "Zaki, the bands drummer, had fallen in love with a young girl from Mohammedia. Soon after, he fell very ill. The group members were convinced that the girl had given him ‘s'hor’ (a kind of local Moroccan version of "black magic"). For four years, the whole group stopped playing. It was unthinkable to find another drummer to replace Zaki, even temporarily." So they waited four years for Zaki to "get back on his feet" before going back on stage. Apart from very few gigs here and there Faradjallah stopped playing music in the mid 1990s. Some members from the younger generations formed a new band and still play frequently to this day. Faradjallah runs a television repair shop coupled offerings beverages and snacks in the Belevedere /Ains Sbaa district of Casablanca. While Faradjallah was primarily a musician, he would work for the local cinema and paint their posters for new movies by hand and he designed all artworks and cover posters of the band. And this eventually led to him participating actively in our first exhibition dealing with Habibi Funk’s work in Dubai 2018. He helped us by creating calligraphic complementations on large photo prints for that show.

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HABIBI 011

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0
Tracklist: 

Side 1
1. Al Hadaoui
2. Albaki
3. Moulate Salef
4. Taali
5. Aflana
6. Chama'a
7. Laddaba

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Oui
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Tu Mens Devant Moi

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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”.

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FVR 153

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15.00
Tracklist: 

Side 1
1. Tu Mens Devant Moi (feat Ramatou Traore)
2. Faut Pas (dub 2000)
Side 2
1. Faut Pas Dire Des Choses Comme Ca (feat Pat Kalla)
2. Women Can Do (feat Ayuune Sule)

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Non
Origine: 
Original
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Mammamelie/With Regularity

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180G 1201

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23.00
Tracklist: 

Side 1
1. Ajate vs Ny Ko - Mammamelie
2. Ajate vs Ny Ko - Mammamelie (Deheb remix)
Side 2
1. Ny Ko vs Ajate - With Regularity
2. Ny Ko vs Ajate - With Regularity (Deheb remix)

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Non
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Original
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Propriete Privee

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There have been ups and downs in the long career of Congolese musician Sammy Massamba, but nothing as gruesome as what happened a certain Friday night of the year 1992 at Sammy’s Parisian house.It all started with a mysterious phone call. At the other end of the line, a voice with a strong Japanese accent introduced herself as the nephew of Akio Morito, the renowned cofounder of Sony. His uncle was the man who invented the Walkman, the transistor television, and was running possibly the most powerful music corporation the world had to offer back then. The Japanese heir mentioned he was a fan of ‘Propriété Privée’, a record Sammy had produced himself, pressed in small quantity and barely distributed in 1987. He was in fact so keen on the record that he wanted to sign Sammy Massamba to Sony right away. He added that Prince himself had been influenced by the eponym track’s intro for one of his songs, and that there were potential judicial remedies that could help, amongst other things, to propulse Sammy Massamba to global stardom in no time. He was coming to Paris with his uncle this very monday, and wanted to meet straight away to sign a contract. Sammy Massamba had been a famous musician in Africa and the European diasporas for 2 decades at that time, however he had always kept a cold head towards the glitz and glamour of show business. His wife on the opposite started getting massively excited by the prospect. The week-end passed, and Monday came. Sammy showed up at the meeting point, and waited for hours. Nobody came. A few days went by, without any news. Sammy ended up calling the Sony French office, and after a few unsuccessful attempts, the truth emerged: Akio Morito’s nephew had died in a car accident in central Paris the day before the meeting was due. Sammy was stunned by the news, and spent the next three months on the verge of mental breakdown, unable to write music. He moved on, with a long-lasting feeling that his Propriété Privée album, which had been so painful to release, was cursed.The story continues. The record keeps circulating in France, Italy, Germany and Spain thanks to people making bootleg cassettes. A decade later, youtube arrives. Somebody uploads the album, cementing cult status amongst djs and African music lovers. In 2015, Fred Martin, manager of label / blog Les Mains Noires, meet Sammy Massamba at his home. Sammy has found a full box of mint Propriété Privée vinyl copies, and Fred offers to sell them to his network of buyers for a good price. They sell out in a few days and a new generation of DJs start spreading the gospel. Which brings me to the time I discovered this music. In 2016, invited by the Ethnographic Museum of Geneva, Switzerland to DJ at an exhibition opening, I decide to keep the party going and hit the Gravière club around 3am, where local DJ Jean Toussaint is hosting a vinyl party with the acclaimed German DJ Hans ‘Nomad’ as a guest. When I enter the club those 2 killer DJs are playing back to back a heavy selection of soukous and afro funk. Jean drops the Propriété Privée tune and the sky falls on me. I rush to the booth, asking him what the hell that was. He generously tells me, and I spend the rest of the night obsessing about it. Come back to the hotel at 6am, go online as soon as I hit my room. A copy of the record is for sale on Discogs, its expensive but a no brainer for a 6am inebriated vinyl junkie. When I receive the vinyl a few days after, the reward outlast my expectations: there’s not one but three killer tracks on this 4 songs EP. A deep soukous cut (Mizele Ngue, the second version Sammy has recorded of this great tune) and a slow electrofunk burner called Sala Keba. What a treasure to behold…Propriété Privée is the pinnacle of 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. A one man band army, exploding with charisma and adventure. I am very grateful to present it today in a carefully restored and remastered format, and would like to thank Sammy for his trust, my team and the numerous friends who helped along the way. Let’s hope the curse on the record is ancient history, I have a meeting in Central Paris soon… Etienne ‘DJ’ Tron, Marseille, February 2019.

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SEC 005

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1
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22.00
Tracklist: 

Side 1
1. Yamina
2. Mizele Ngue
Side 2
1. Sala Keba
2. Propriete Privee

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Non
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Non
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Re-Issue
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The Healing

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BCUC aka BANTU CONTINUA UHURU CONSCIOUSNESS

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260314

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24.00
Tracklist: 

Side 1
1. The Journey With Mr Van Der Merwe
Side 2
1. Sikhulekile (feat Femi Kuti)
2. Isivunguvungu (feat Saul Williams)

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Non
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Non
Origine: 
Original
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Peace & Harmony

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Official LP reissue of 'Peace & Harmony' by Nigerian funk royalty Harry Mosco, Originally released in 1979. Incl the big tracks ''Sexy Dancer'', ''Step On'' and ''Do It Together''Isle Of Jura digs deep going back 40 years for the reissue of Harry's 1979 album which is something of an undiscovered gem that touches upon Disco, Funk, Boogie, Soul and Dub. Harry passed away in 2012 and we’ve worked closely with his son on the reissue. Harry Mosco is best known as the founder of legendary 1970s Nigerian Afro-Funk band The Funkees. Originating as an Army band after the Nigerian Civil War they lead the wave of upbeat music produced by young artists in Nigeria in response to the darkness of the recently concluded civil conflict. Following a notable hit single ‘Akula Owu Onyeara’ the band split in 1977 and Harry pursued a solo career.‘Peace & Harmony’ was Harry’s third LP continuing the rich vein of form found in previous albums ‘Country Boy’ and ‘Funkees’ (For You Specially). He was a visionary who wrote, arranged and produced each song on the LP assisted by Mark Lusari on engineering duties (P.I.L, Jah Wobble & Prince I), whose Reggae and Dub influence can be felt on title track ‘Peace & Harmony’ and ‘Peaceful Dub’. The LP contains two certified floorfillers of Studio 54 era Disco Funk in the shape of ‘Sexy Dancer’ & ‘Step On’ and two slow jams, the soulful ballad ‘She’s Gone’ and horn lead album closer ‘Do It Together’. Mr Funkees was printed on the cover to help record buyers make the connection between Mosco and his former band

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ISLELP 004

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1
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23.00
Tracklist: 

Side 1
1. Sexy Dancer
2. Step On
3. She's Gone
Side 2
1. Peace & Harmony
2. Peaceful Dub
3. Do It Together

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Non
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Non
Origine: 
Re-Issue
Newsletter: 
Non
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Afrobeast (Danvers/Ben Gomori Edits)

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Formed in Brixton in 2006, afrobeat band Yaaba Funk have released two albums with Sterns Music and performed numerous acclaimed live shows — including support slots for Seun Kuti and Ebo Taylor.Rapidly rising star Danvers (also of Kassian) takes the infectious energy of 'Oman Foa' into a triumphant new direction, with one of his broken beat rhythms at its core — recalling his big summer track 'Aye Ata' which received heavy support from the likes of Gilles Peterson and Midland. With a succinct arrangement that lets the joyous brass and powerfully harmonised vocals shine potently, it's a feel-good party music that works wonders when deployed at the right place and time.'Hwe Hwe Mu Na Yi Wompena' is Yaaba Funk's cover of the Ghanian highlife singer K. Frimpong and his Cubano Fiestas' irresistible 1977 track, which Ben Gomori strips back into two instrumental-focused versions. His 'Message Of Love Edit' is a summery, housey flip with trumpets mutated into synths and the bass pumped up with chunky distortion, while his 'Message Of Love Live Dub' zones in on the live grooves with just a little extra embellishment.Sterns Edits is an official collaboration between African music stalwarts Sterns Music and London's Ben Gomori.

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STEDIT 005

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0
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14.00
Tracklist: 

Side 1
1. Oman Foa (Danvers edit)
Side 2
1. Hwe Hwe Mu Na Yi Wompena (Ben Gomori Message Of Love edit)
2. Hwe Hwe Mu Na Yi Wompena (Ben Gomori Message Of Love live dub)

Second_hand: 
Non
Forthcoming: 
Non
Origine: 
Original
Newsletter: 
Non
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