SEALED

Next up for Spaziale Recordings - one of the most sought-after Arabic disco records A. Mislayene - 'El Fen' finally gets a long awaited fully official remastered reissue, original copies of which sell for close to £300.This 12" was only issued in seriously limited quantities on the tiny Stip records label out of France in 1976. Sought for the chuggy exotic rhythms of the B side 'El Fen' at long last this eastern-influenced disco masterpiece is available to those who don't happen to have a spare £500!Aït Meslayene was a Kabyle traditional singer who moved to Paris to try his luck. He was driven by an Algerian manager who pushed him to make a "disco" album, a new trend at that time. The recording found place in a studio near Paris, with an American drummer from the funk group "Ice".For SPZ002, Viaggio Recordings head honcho Stefano Ritteri steps up to provide an exquisite “Versione Spaziale” of 'El Fen' on the A side, with the original version and 'Yemma' taking the flip.

Berlin rapper JuJu Rogers presents his highly anticipated sophomore LP „40 Acres N Sum Mula“ feat Sampa the Great and productions by Farhot (Isaiah Rashad, Talib Kweli), Like (the producer behind Kendrick Lamar’s „Sing About Me”), Crada (Drake, Kid Cudi) and more...Coming a long way - from his widely acclaimed debut (“Although we don’t usually bestow the ‘future classic’ title to an album (...) we are just ready to call it what it is!”; Music is my Sanctuary) „From The Life Of A Good For Nothing“, supporting DMV's veteran Oddisee on tour throughout Europe, being the 2nd artist to ever be featured on COLORS, the successful Bluestaeb collabo „LIT – Lost In Translation“ and his regular appearance at Splash Festival - JuJu Rogers teams up with Jakarta Records again to finally return to the big screen presenting his highly anticipated 2nd LP „40 Acres N Sum Mula“ providing nothing but bangers with an attitude and bringing back that ‘Real Shit’!The Schweinfurt born and bi-lingual & multi-culturally raised JuJu Rogers comes from an army family. His father, a GI who owns an extensive Soul and Jazz collection of records and a German mother with Austrian roots. After moving to Berlin in 2012 he soon set his mark in the local scene by joining the group Man of Booom. His solo debut „From The Life Of A Good-For-Nothing“ was released by Jakarta Records (The Berlin based label behind critically acclaimed releases by artists such as Anderson .Paak, Kaytranada, Mura Masa, Akua Naru or Ta-Ku) and displayed himself as a searching soul & Eichendorff fan in the most lyrical sense. The Coming-Of-Age-Story behind it oscillates between capitalist bottom lines and free creativity as higher ground.JuJu has no problems telling it like it is: "After talking about depression, temptation, the craving for money in a capitalist world with all its possible consequences, after asking questions of identity with the clear answer: "Babylon" represents the outlook and possible perspective, the break away moment of the album. It's a song of strength and progress. It also creates a very positive vibration as the last song of the album which made a lot of sense to me as the whole album holds a more mystical vibe to it.“The new Album “40 Acres N Sum Mula” unifies the mind state of an Afro-German with the power of observation with German political landscape of Berlin. Heavy sampled beats from his debut album are replaced by contemporary musical landscapes, productions by outstanding musicians and producers from all over the world.JuJu Rogers about his album title: “»40 Acres N Sum Mula«! — Forty acres and a mule refers to Special Field Orders No. 15, a promise made by the United States government for agrarian reform to aid formerly enslaved black farmers. Approved by president Abraham Lincoln, the field orders were written 1865, and specifically allotted each family a plot of land no larger than 40 acres (16 ha) plus a mule for the agrarian reform effort. I changed »a mule« into »sum Mula« in order to place the legitimate struggle for equal rights and reparations into the context of our current capitalist world and underline the historic connection to the very beginning of today’s society.Sound, lyrics and vibrations on this album represent a mixture of ancestral spirit and contemporary characteristics and lead you through the self-reflecting and rebellious thoughts of a black man born and raised in Germoney.” - JuJu Rogers.

The motor hasn’t had time to cool down and the belt drive is feeling the fatigue. But Charles Maurice is the kind of DJ who just can’t let a turntable rest. After steaming up the slipmat with three sexy compilations of French Boogie, Charles Maurice is back with Volume 4.In the late 70s and early 80s, while France was still firmly tuned into variety-show pop, a few enlightened ears and souls picked up the hypnotic beat of funk from across the Atlantic. These first warrior monks spread the good word in discotheques, jumped on newly available frequencies to fill the airwaves and, in some cases, took up instruments themselves to unabashedly build on the U.S. model.In a short decade stretching from the late 70s to the late 80s – just a blip on the scale of music history – they turned out material in abundance. Lush productions with colorful covers, groovy typeface and creative photo shoots…But first and foremost, they made music weaned on, spoon-fed and imbued with funk. Music defined by a groove with a robotic beat (Djeneba) that clearly hears hip-hop banging on the door, where layers of synthesizers, handclaps (Eric Chotteau), horns and African percussion line up and follow the all-powerful lead of the swelling slap bass (Cyrill). Music that tells everyday stories, both humorous and lovelorn (Serge Delisle), and often packed with pheromones just waiting to be released on the dance floor or sofa (Chris O’Hara). Shaped by synthetic textures, these productions are also spiced with Caribbean and Creole arrangements that reflect the West Indies’ critical contribution to French Boogie (Wai Kop, Acayouman).With his immaculate tailoring, slicked back hair and clipped moustache, Charles Maurice has once again transformed himself into a HiFi stylus to explore the groove traced by this specifically French musical style. From 45 to 33 rpm, he has traveled the black spiral to bring us a new selection that proudly features a number of rarely heard pieces and even an unreleased track by Marco Attali. True to form, Monsieur Charles carefully crafted this fourth volume from his personal collection of impeccably restored and mastered vinyl recordings.Charles Maurice, where French elegance meets uncompromising musical taste.

In the summer of 1986, inspired by gypsies from Turkey and the Balkan region, a Kurdish immigrant and six Austrians locked themselves in a small rehearsal room in Vienna's 5th district. What came out of these sessions sounded rather unusual for the local music scene.Using songs from the Eastern Mediterranean and Middle East as a vehicle for improvisations based on odd scales and rhythms, and looking for ways to adapt them to their instruments and European feel, the band gave birth to its own sound signature. Delivering some of the tightest oriental jazz fusion recorded that decade.Submitted by soundman Michael Fitsch as his end of the year project at audio engineering school, the album was ultimately released on his teacher Hans Hartel's Ha Ha Soundwave label. Mostly sold in venues during legendary performances, Oriental Groove fatally faded from memory since the group disbanded a few months after its release.To conclude a year of investigation and continuous efforts to put the band members back in touch 30 years later, Hot Mule Records is proud to bring this groundbreaking record back to life with an official reissue, carefully remastered from the original source.Limited Deluxe Edition of 500 copies in tip-on sleeve, including extensive liner notes by Donna Leake, with exclusive photos handpicked in the band's archives.

L’ALBUM 60-70’S DE MUSIQUE BRÉSILIENNE MADE IN FRANCERÉÉDITION À L’OCCASION DES 50 ANSA la fin des années 60/début des années 70, le Brésil faisait rêver. Il était à la mode, un peu partout en Europe, et donc aussi en France. On pense à "Samba Sarava" sur la BO du film Un Homme et Une Femme, à Françoise Hardy avec son album produit par Tuca, à Isabelle Aubret et son "Casa Forte" ou à France Gall avec "Zozoi". Trois musiciens brésiliens exilés en France, Edson Lobo (basse), Fernando Martins (piano) et Nelson Serra (batterie), forment le Trio Camara. Ils rencontrent un groupe d’amis amoureux de la musique brésilienne, tous professionnels de la musique, mais qui souhaitaient rester anonymes, d’où le nom de leur groupe : Les Masques. Claude Germain (Les Double Six), José Bartel, Marie Vassiliu, Pierre Vassiliu... les chanteurs formant Les Masques sont loin d’être des inconnus. En 1969 ils entrent donc au Studio Davout avec le Trio Camara pour enregistrer Brasilian Sound.Composé de 11 titres, c’est un superbe album, magistralement produit et enregistré, qui s’écoute d’une traite et nous transporte dans des ambiances à la fois légères et naïves, si propres à cette époque. Tiré à 500 e xemp l a i r e s s u r C B S l ’a l b um n e s e r a malheureusement pas un succès et il est aujourd’hui quasiment impossible de trouver le pressage original français (sonnant bien mieux que le pressage canadien paru à la même époque). Cette réédition du Très Groove Club est donc la bienvenue, pour que 50 ans après sa parution, un plus large public puisse découvrir ce magnifique album, écho d’une époque définitivement révolue.

Une aura de mystère plane autour de Jacky Giordano, musicien de studio ayant majoritairement oeuvré dans l’illustration musicale. On lui doit le fantastique label Freesound (Schifter, Philopsis, Challenger), on le retrouve sur Montparnasse 2000 avec Pop in Devil’s Train, mais aussi chez Timing avec Timing N°1 et Timing N°5 sous le pseudo Jacky Nodaro, chez Musax avec Boucles Rythmiques sous le pseudonyme José Pharos ou Black Devil Disco Club dont la paternité sur ce disque est encore disputée entre Bernard Fêvre et lui. Car Jacky Giordano n’était pas un enfant de coeur, loin de là, et aura malheureusement été plus connu pour ses démêlés avec la justice que pour sa musique. C’est son travail pour le label l’Illustration Musicale (IM) qui peut maintenant être redécouvert grâce à cette réédition du Très Groove Club.Organ Plus (IM 26) est la suite d’Organ (IM 24), également réédité par Le Très Groove Club. Le titre est ici un peu mensonger, l’orgue n’étant pas un élément prépondérant de l’album qui fait la part belle au Fender Rhodes, string machine, grosse basse de synthé et clavinet. "Be Carefull", "Riffologic", "Twilight" : Jacky Giordano nous offre un jazz-funk au tempo ralenti, sans se départir de sa mélancolie et de son groove low-fi qui rendent ses morceaux immédiatement identifiables quelque soit le label ou le pseudonyme qu’il utilise.