Francis Bebey
Ballades Africaines

Shina Williams ‘Agboju Logun’ was a ground-breaking fusion of afrobeat, electronics, boogie and disco. First released on Phonodisk in 1979 as part of the ‘African Dances’ album, then in 1984 as an alternative version on Rough Trade’s Earthwork off-shoot, it has gone on to attain cult-like status.So it remains a bit of a mystery how so little has been documented about the follow-up. Shina’s self-titled album was originally released on Help Records in 1980. It differs from the upfront afro-disco-funk of ‘African Dances’ as it diverts into deeper, hypnotic, afro-beat territory. Though listed as a six-track album, each side (composing of 3 tracks) is built-upon one continuous groove with call and response female & male vocals and instrumental solos coming and going as each side progresses. The results are raw, hypnotic, locked-in grooves, which sit perfectly on forward-thinking contemporary dancefloors.Official Mr Bongo reissue. Replica original artwork. LP only. Licensed from the family of Shina Wiliams.

In the beginning of the 1970’s, Guinea-Bissau was a country broken up into many ethnic groups and at the heart of a war for independence. By reviving traditional musical genres as Gumbé and singing in guinean Kriol, José Carlos Schwarz & Cobiana Djazz established an immediate affective bond with their audiences. Through its music and politically engaged spirit of the lyrics, the band played a significant role in shaping the social and political consciousness of the masses. As well as influencing local bands like Super Mama Djombo and giving back a deep sense of cultural identity to bissau-guineans.The explosive birth of Cobiana Djazz brought about other kinds of detonation. Schwarz became involved in urban guerilla activities which resulted in several bombings in the centre of Bissau, leading to his imprisonment and torture. He remained in lockup for a total period of about 2 years, between 1972 and 1974.The process of decolonisation, in the wake of the Portuguese revolution of 25 April 1974, led to the recognition, during the same year, of the sovereign nation of Guinea-Bissau.Schwarz, a key figure in the fight for independence, played an important part in the transition to the democratic regime, profiting from his popularity as an artist. Soon, his criticism (underscoring opportunism and irresponsibility in high places) became a thorn in the side of the political elite. Uneasy with the disquieting effects of his work, government officials effectively separated the author from the masses by assigning him to the embassy in Havana.José Carlos Schwarz met a tragic and untimely death at the age of 27, when his plane crashed on arrival at Cuba's José Martí International Airport, on May 271th 1977.Hailed by african giants like Orchestra Baobab, Letta Mbulu or Miriam Makeba (with whom he recorded his first and only solo album), “Zé Carlos” and his poetry won a lasting position in the annals of Guinea-Bissau. However, this collection of songs remains relatively unknown outside the country and its diasporas.We are proud to offer, in close collaboration with the Schwarz family, this first official reissue on vinyl. Remastered and pressed on heavyweight vinyl.

The Accra-born pianist and frontman, ROB, 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 wahwah 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.Replica original artwork. All songs licensed from Essiebons, except 'More' licensed courtesy of Analog Africa.

Represencing was Joshua Abrams' second album back in 2012, and it is still a collection of superb avant-jazz. ❤The record is filled with deeply involving grooves, pulsing energies and his tracks are rich with a kaleidoscopic interplay of sensory perceptions that mangle space and time. The album';s centre piece was once again the guimbri, a North African bass lute which the artist first started to play during the late 90s after a trip to Morocco. It makes for a record with healing qualities as it empties your mind of everything and places you in the here and now, the twisting and turning of Joshua's amazing rhythms.