Vetson' Androy Jaojoby
Mavandeza / Taratasy Maitso

Sind N'Bassa - Afro Funk music from the Togolese singer Mamo Lagbema. Records in a good shape but sound very noisy !

The first compilation from South African vinyl re-issue specialists Matsuli Music – a journey through jazz, funk, fusion and disco, detailing the incredible story and sounds behind the Soweto nightclub during the height of apartheidA night-time haunt in the backstreets of Soweto run by a well-known bootlegger should have been a prime zone for nefarious underworld activities. Instead, it nurtured an underground of a different kind. Soon after its opening in 1973, Club Pelican became a spot where musicians steeped in the tradition of South African jazz began to cook up experimental sounds inspired by communion, competition and the movements in funk and soul blowing in from the West. Located in an industrial park on the western edge of Orlando East, Soweto, Club Pelican was off the beaten track, among a matrix of railway and industrial infrastructure. In a different time and place, this would have been a prototypical nightclub location, except there was no local precedent to follow. This was Soweto’s first night club.In the intervening years, this location has served to heighten the now-defunct spot’s legendary status as a singular venue, one that ruled the night in the Seventies. Initially called Lucky’s and established in 1973, the Pelican’s impact on the Soweto cultural landscape was immediate. Lorded over by a charismatic figure known as Lucky Michaels, the club became the jewel in a nondescript collection of family businesses. It boasted a diverse pool of talent in its succession of house bands and an A-list of ghetto-fabulous singers asits cabaret stars. Its VIP section was a veritable who’s who of Soweto society and its stage, hosting a mix of the day’s pop culture infused with the creativity and individual histories of the musicians, the Pelican filled a live music vacuum.One Night in Pelican captures the halcyon seventies period with a single nightclub embodying an indomitable spirit of its troubadour players. While schooled and rooted in “standards” and local forms, the music could take any direction, at a moment’s notice. This compilation features all the key groups and players of the time: Abacothozi, Almon Memela’s Soweto, The Black Pages, Dick Khoza and the Afro Pedlars, The Drive, Ensemble of Rhythm and Art , The Headquarters, Makhona Zonke Band, the Shyannes and Spirits Rejoice.’

Raï is the music of a youth hungover from Algeria's recent independence. It became a space for a liberated, transgressive dialogue that told the social truths of its time -- an up-front yet poetic voice that covers the taboos and frustrations of daily life, expressing emotion without detour. This voice is heard at weddings, cabarets, in the nightclubs of the Oranese coast, and casually on the street... With the boom of the audio cassette, an avalanche of raï tapes were produced in Oran and diffused all over the world. Both women and men sang and listened to the new sound, as raï is intimately tied to parties, alcohol and the night. With the spontaneous improvisation of its singers as the main part of each song, raï keeps reinventing itself. In this style, Cheb Hasni, along with Cheb Nasro, incarnates a second generation of musicians. With the "love raï", or sentimental raï, Hasni sings about love, passion and its setbacks -- moving away from the bittersweet daily chronicles of the first chebs and chebates. Having recorded nearly 150 cassettes, Cheb Hasni remains one of the most prolific and talented raï singers of his generation. Almost thirty years after his death, this three-volume compilation of rare tracks from his cassette releases on the Oriental Music Production label is a tribute to the lasting legacy of Cheb Hasni -- ya raï! The second volume of three is presented here.CHEB HASNIVol 2Outre National

Camayenne Sofa ‎– Attaque from 1976 on Editions Syliphone ConakryGuinean regional band from Camayenne area.