Di Melo
A.E.I.O.U.

This is a rare gem of a record from fantastic soul band THE SOUL KIDS stemming from the Democratic Republic of Congo, including covers of James Brown & The Mighty Flames' hit singles "Lickin Stick" (1968), "Papa's Got A Brand New Bag" (1965), Wilson Pickett’s "Hey Jude" and a French vocal version of Otis Redding’s soul hit "Respect ".This amazing young band, which released only four 7inch singles and one album, is a great example of the influence of soul music and French pop bridging to the new Afro soul scene that the musicians of Kinshasa were involved in during the time of post-independence. Ngoma was one of the first record labels intent on providing local artists' recordings from both sides of the Congo river to the people of the DRC and West Africa. Created in 1948 by a Greek man by the name of Nicolas Jeronimidis, the Ngoma label was active through 1968, pressed in France until 1971, with a tremendous catalogue, including this historical and essential soul masterpiece!

When Ajax Tow travels in his Pop Western landscapes, you can be sure there’s always a perfect 70’s road trip soundtrack. Italians cowboys meeting the legendary Miriam Makeba in Rennes suburbs... For his 3rd album The Soul Vegetable Orchestra, Ajax Tow is bringing us on a ten tracks sonic adventure, where many inspirations and references collide. The succession of tracks inspires many feels and moods from sipping a good old bourbon, dance in the kitchen, or gallops though the plains of Napoli. We can found the influence of Danger Mouse paying hommage to the late Ennio Morricone (Roma, 2011), a cinematic side of Shawn Lee and Misha Panfilov, from music library à la Jean-Claude Vannier to the Band Voilaa, a little glimpse of pimped Ninja tune, a Reworked organic Mo’Wax vibe, all mixed up and spiced up with a Tricky style. This album is also the result of a collaboration with Dan Voisin (Modul-Club, Eighty…) at the production and drums with Rennes city scene musicians who gives a hand on this album: Romain Baousson (Coupe Colonel, Bikini Machine…) on drums, Sax Machine and Racecar (Saxtoys Records) on horns and vocals, Dj Marrrtin (Funky Bijou, Lord Paramour) on beatmaking, Medline (My Bags) on Flûte. As a special guest, the late and legendary Miriam Makeba appears on “Magic Miriam”. “Feel it” is definitely setting a west coast on the LP with a Jurassic 5 inspiration, accompanied by a spicy rhythm, MC Racecar (Sax Machine) flows and lyrics brings even more energy to the track. On “Movie” and “Silence”. Ajax Tow give us a nice taste of his favorite psychedelic blends, romantic and intimate at the same time, where we found back Fuzz guitar with 60’s Eric Clapton style (Cream era) and Pink Floyd synths Flavors. The cinematic style and first notes of “So What” reminds Air first EP and the beautiful bass of “Melody Nelson”. For the dessert, “Smallville” is a kind of wedding cake with 70’s loops sprinkling that brings us to Phillipe Sarde’s La Grande Bouffe soundtrack, but with a more contemporary feeling.

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.

Moar is hot on the floor with this double Hip-Hop/RnB single. Don't miss it, this is a new killer track for the party :-)Dancefloors were made for this, quality stuff.Hand stamped records & limited press!

Born to a French mother and a Burkinabe-Senegalese father, Jennifer "Hawa" Zonou bathed from a young age into the world of the Afro-American music. Approaching its 20th anniversary, she shows a real talent as a singer and naturally begins his musical training with the best school, Gospel. She then entered the Soul-Hip-Hop scene from Lyon, multiplying gigs and collaborations.During a show in 2008, Hawa made the acquaintance of Bruno "Patchworks" Hovart (Metropolitan Jazz Affair, Uptown Funk Empire, Mr Day, Mr President) and in the same time of Pascal Rioux and Favorite Recordings label. Seduced by what he hears, Patchworks offered her his services and in 2009, Hawa revealed to the public with a remarkable cover of "D.A.N.C.E." by Justice, and fine appearances alongside Mr Day or Mr President.Naturally, the duo nourishes the common desire to embark further and in June 2011, Hawa presented her first solo album entitled My Little Green Box. Collecting first the support and praise from many French media (France Inter, FIP, Nova, Telerama, etc ...), the groove of the album will also trigger a long series of festivals & concerts throughout France. Hawa reveals herself with a genuine stage presence, spontaneity and ability to move, that will fulfill every audiences encountered, whether in Blues, Jazz, or Contemporary Music’ a stages, and whatever generations it was. This is also an opportunity for her and Patchworks, to surround them with a cohesive group, composed with the finest musicians of the Jazz and Soul scene from Lyon.With this positive environment around her, Hawa also starts writing her new album with exalted inspiration. Once again produced by Patchworks, Another Tree marks an important evolution for Hawa, both in sound and production, writing, or influences. Deliberately more live, the entire production is made both with analog equipment and tape recorder, and with the participation of the live band members.A perfect background to enhance Hawa’s songs, which are significantly looking towards Memphis, crossing the genres between Soul, Folk, or even Rockabilly. The sound of the album also permeates the footprint of artists like the Staple Singers, Isley Brothers, or Shirley Ann Lee, labels like Hi Records, Sun, or Stax, and finally great producers like Willy Mitchell, Jack Nitzsche, or Phil Spector. Hawa happens to be more direct and confident, but also more sensitive and more deep. And without a doubt, it makes her songs just more intense, original and elegant.

Comet Records presents the Tony Allen & Afrika 70 reissue series with the classic late seventies first four solo albums of Tony Allen remastered and restored: Jealousy, Progress, No Accomodation for Lagos & No Discrimination, all coming in an heavy Deluxe Tip-On Jacket. 1978's No Accommodation for Lagos, Tony Allen's third solo album, is an effortless Afrobeat masterpiece. The Afrika 70 band floats through two of Tony's heaviest and most churning compositions. With this album, we start to hear Tony Allen's unique style of Afro-Funk that he would explore for decades to come as a solo artist - it is groove-focused, a rolling meditation on rhythm. The first track, "No Accommodation for Lagos" is one of Tony's most pointed and churning songs, recorded in a chaotic period following the army raid of Fela's compound. There is a seriousness to the funk, a real burning purpose in the performance of every instrument, from the horns to the shekere. Tony's performance is supercharged - he clearly showed up to the studio that day with a fire in his heart. The followup track, "African Message," is an Afrobeat compositional staple. Tony sits back in the cut through most of the supremely funky track until about seven minutes in, when he steps into the spotlight to express himself fully - his emotions, his frustrations, his convictions - in a fiery duet between his drumkit and his voice. The percussionists coalesce around him in support, lifting Tony up as he gives it his all.Tony Allen was a musical and compositional visionary, and this album finds him beginning to explore that vision outside of Fela's immense gravitational pull. They are the start of a new era in Tony's fruitful career as a solo artist, opening the floodgates for his distinctive Afro-Funk sound and laying the foundation for the next generation of Afrobeat musicians to come.