Dieses tolle Stück ist der beste Freund aller 7"-Single DJs, denn ohne den richtigen Adapter läuft nichts. Der hochwertige Single-Adapter kommt direkt von der Drehbank auf deinen Plattenspieler - im original Soundsystem Style! Bestens geeignet für Jamaican 45's und American (Import) Singles sowie für alle anderen mit 38mm Center Hole. Durch Gewicht und Konstruktion kann die Single nicht unter den Puck verrutschen, sodass präzise Einsätze möglich sind, perfekt auch für's Scratchen! hochwertige Verarbeitung aus Messinghandgefertigtschwere Qualitätpassend für alle Plattenspielergenaue Passform: kein Verrutschen der Single
Bahnbrechende & seltene Single von 1971, nur auf dem britischen Banana-Label veröffentlicht – momentan gehandelt für 500+ € für ein Original. Frisch gepresst von den originalen Studio-One Masterbändern! UNVERZICHTBAR!
Seit mehr als zwei Jahrzehnten begeistern SOJA ihr Publikum mit ihrer frischen und zugleich zeitlosen Interpretation des Roots-Reggae – einem Sound, der aus ihrer gemeinsamen Leidenschaft für Musik entstanden ist, die mitreißt und inspiriert. Auf »Without Surrender« – ihrem ersten neuen Album seit dem mit einem Grammy ausgezeichneten
»Beauty in the Silence« (2021) – vertieft die Band diesen
Gemeinschaftsgeist durch die Zusammenarbeit mit Künstlern aus aller
Welt, darunter The Elovaters, der brasilianische Superstar Di Ferrero, Kolohe Kai, Nick Hexum von 311 und viele mehr. Jetzt als Green Swirl Vinyl
Mehr Habibi Funk gefällig? »Tirakat« bringt das Jakartaer Trio Ali mit dem libanesischen Komponisten und Multiinstrumentalisten Charif Megarbane zusammen. Diese Zusammenarbeit wurzelt im jahrhundertealten kulturellen Austausch zwischen Indonesien und der arabischen Welt. Ali verbinden indonesischen Psychedelic Funk der 1970er-Jahre mit Orkes Melayu, Disco-Grooves und arabisch geprägten Melodien, während Megarbanes Werk seit Jahren transregionale Strömungen zwischen Jazz, Library Music und mediterranen Klangfarben erkundet.
Eine unverzichtbare Sammlung auf TROJAN, die einige der besten und begehrtesten Reggae-Interpretationen von R&B-Klassikern aus den 1970er Jahren präsentiert – dargeboten von einigen der gefeiertsten Künstler Jamaikas. Sie umfasst zahlreiche zeitlose Klassiker ebenso wie längst vergessene Raritäten, die jahrzehntelang nicht auf Vinyl erhältlich
waren. Die Aufnahmen spiegeln nicht nur den tiefgreifenden Einfluss des
US-R&B auf die jamaikanische Musikszene jenes Jahrzehnts wider,
sondern belegen auch das außergewöhnliche Talent der Musiker der Insel, Soul-Klassiker in Reggae-Meisterwerke zu verwandeln. Das Ergebnis ist ein wahrhaft faszinierendes und fesselndes Hörerlebnis, das garantiert für Tanzstimmung sorgt.
The dream team of Sugar Minott and Victor Axelrod returns with a deep
rub-a-dub reggae take on The Notation’s low rider classic, “I’m Still
Here”. Shortly after falling in love with the song via a 45 mix from
Gabe Roth, Axelrod received a serendipitous message from the late great
Minott saying he was in town and ready to work. Sugar's effortlessly
soulful vocals coupled with Axelrod and Co's sweet and spacious groove,
transform the Notation's track in to a slow , sticky revelation of love
that's actually stable. The perfect soundtrack for discerning soirees
and those moments where you have one foot out the door but need a moment
of reflection.
100% Cotton heavy (300 gr2) peached hooded sweatshirtKangaroo pocketWith rib cuffs and hemTrojan Spirit of 69 print logo to chestRegular Fit - (see 'product details' for measurements)Machine wash
Gefeiert von David Rodigan: Produktion von "Panza", unserem Lieblings DJ aus Berlin von Supersonic Sound. Diese 10" markiert die Rückkehr des jamaikanischen Sängers Taffari – 18 Jahre nach der gemeinsamen Produktion „Devils Angels“. Auf einem warmen, langsamen One-Drop-Riddim von Big Finga und seiner Evolution Band singt Taffari einen persönlichen Liebessong mit viel Soul und Gefühl. Die B-Seite liefert Tippy I Grade mit einem tiefen, atmosphärischen Dub-Mix, der den Bass und die räumlichen Effekte gekonnt in Szene setzt. Eine ausgesprochen stimmungsvolle Roots-Reggae-10" aus dem Jahr 2026.
• Hauptfach mit Reißverschluss• flaches Reißverschlussfach auf der Front• seitliches Reißverschlussfach am Taschenende• robuste Metallbeschläge• abnehmbarer, längenverstellbarer Schultergurt aus gewebtem Gurtband• zwei Tragegriffe aus Gurtband mit Twin Tipping-Detail• Laurel Wreath-Logo auf der Front• Maße: ca. 46 × 26 × 26 cm• Fassungsvermögen: 23 Liter• Hauptmaterial: 100% recycelter Polyester
Mit Gratitude kehrt Gentleman 2026 bewusst zu seinen Reggae-Wurzeln zurück: Sein neuntes Studioalbum verbindet klassischen Roots- und Dancehall-Einfluss mit einem modernen, freien Sound. Die 17 Tracks entstanden in Mallorca, Jamaika und Miami und werden von internationalen Gästen wie Queen Omega, Capleton, Collie Buddz, Richie Campbell, Christopher Martin, Jahmiel und Michael Patrick Kelly bereichert. Produziert wurde unter anderem von Don Corleon, Jopez und Clayton Hamilton – musikalisch geht es um Dankbarkeit, Zusammenhalt, Liebe und den Blick auf das Wesentliche.
Mit Too Too Bad kehrt Buju Banton 2026 nach 23 Jahren zu VP Records zurück und präsentiert sein mittlerweile 13. Studioalbum. Musikalisch knüpft der Jamaikaner bewusst an die raue, energiegeladene Hardcore-Dancehall-Tradition seiner frühen Jahre an, verbindet sie aber mit modernen Produktionen und Einflüssen aus Hip-Hop und R&B. Neben „Butterflies“ – mit einem Verweis auf Coxsone Dodds legendären Real Rock Riddim – gehören „We Nuh Play“, „X Rated“, „House Call“ und „Power“ zu den Highlights; als Gäste sind u. a. DJ Khaled, Ari Lennox und Gramps Morgan dabei.
Ein tief verwurzelter Studio-One-Roots-Tune des jamaikanischen Sängers und Percussionisten Zoot „Scully“ Simms. „African Challenge“ verbindet Simms’ markanten Gesang mit dem treibenden Sound der Sound Dimension und einem klassischen Studio-One-Riddim. Die 2026er Soul-Jazz-Reissue holt diese seltene Aufnahme nach Jahrzehnten wieder auf 7" Vinyl zurück.
Ein echtes Studio-One-Rocksteady-Juwel aus dem Jahr 1968. „Music Like Dirt“ wurde in Jamaika als Aufnahme der The Actions veröffentlicht und erschien in Großbritannien unter dem Namen The Lyrics; auf der B-Seite liefert die All-Girl-Gruppe The Tonettes mit „I Give It To You“ einen wunderbar eingängigen Vocal-Tune. Die Originalpressung gehört zu den gesuchten Coxsone-45s – Soul Jazz macht diesen seltenen Klassiker nun wieder zugänglich.
Ein besonders interessantes Stück jamaikanischer Dancehall-Geschichte: Wayne Smiths erste Studioaufnahme, produziert von Prince Jammy. „Zarro“ – auch als „Zorro“ gelistet – entstand in der frühen Dancehall-Ära und war lange Zeit nahezu ausschließlich über Jammys Soundsystem zu hören. Jetzt erscheint der seltene Cut erstmals offiziell auf 7" und macht damit einen echten kleinen Dancehall-Schatz wieder verfügbar.
10th Anniversary Edition
Indie Exclusive Dirty Money Splatter Color VinylIncludes MP3 Download Card
The unstoppable, irresistible rhythms and melodies of Antibalas have
influenced scores of artists across rock, hip hop, afrobeat and beyond.Born
in a Brooklyn warehouse in 1997, 12 piece ensemble Antibalas is
credited with introducing Afrobeat to a wider global audience,
influencing countless musicians and developing a live show that is the
stuff of legend. Members of Antibalas served as musical directors and
the house band in the Broadway hit FELA! and penned original music for
the show. Members have also recently collaborated/performed with Iron
and Wine, Sharon Jones & The Dap-Kings, Mark Ronson, TV on the Radio
and The Roots.On the heels of the hit musical FELA!, Antibalas
ended up reuniting with former member and producer Gabriel Roth, who was
at the helm for their first three albums. This self-titled album was
their first on Daptone Records.
Record Store Day RSD 22, Glitter Gold Coloured Vinyl Realease
On December 2013, during Alain Pilot's show “La Bande Passante” and as part of the celebrations for Manu Dibango’s 80th birthday, Radio France Internationale gathered around the African master a bunch of prestigious guests including the Ethio- Jazz ambassadors : Akalé Wubé.
The band decided to play live and on air African Pop Session and Ekedi - both written and recorded by the Cameroonian saxophonist in the early seventies - quickly joined by Manu Dibango and his saxophone. Two live recordings of this session will be taken out this pathbreaking and improvised meeting.
A great complicity shortly settled between them and, a few months later, Akalé Wubé invited Manu Dibango on their track Anbessa (The Lion in Amharic) composed as a tribute to him. This collaboration led them to share several stages together in the following years.
With this RFI session still in mind, Manu Dibango invited the band to join him in studio for Akalé Wubé to arrange and re-record 5 other unknown nuggets from his catalogue : La Colère des Dieux, Du Bush a Bush, Gentlemen de Camp Yabassi, Otetena Munja and Peaceful Homeland.
Unfortunately, The Lion won’t make it to the Parisian band’s studio to record his last solos, fate decided otherwise... Akalé Wubé decides to pay a strong and sincere tribute to this friendship through out the album Anbessa - gathering the entire tracks written for or by Manu Dibango and played by the band - in a special LP.
Music
By, Lyrics By – Akalé Wubé (Titel: A3 , B3)Manu Dibango
(Titel: A1 , A2 , A4 to B2 , B4)
Alto
Saxophone – Manu Dibango (Titel: A1 , A3 , B1)
Saxophone,
Flute – Etienne De La Sayette
Trumpet,
Flugelhorn, Percussion – Paul Bouclier
Guitar
– Loïc Rechard
Bass
– Oliver Degabriele
Drums
– David Georgelet
Recorded
By, Mixed By – Pierre Dachery (Titel: A2 to A5 , B2 to B4) Viktor
Gourarier (Titel: A2 to A5 , B2 to B4)
Mastered
By – Fabien Girard
Artwork
– Fred Chailleux
Yaoundé, in the 1970´s, was a buzzing place. Every neighbourhood of Cameroon´s capital, no matter how dodgy, was flled with music spots but surprisingly there were no infrastructure to immortalise those musical riches.The country suffered from a serious lack of proper recording facilities, and the process of committing your song to tape could become a whole adventure unto itself. Of course, you could always book the national broadcasting company together with a sound engineer, but this was hardly an option for underground artists with no cash. But luckily an alternative option emerged in form of an adventist church with some good recording equipment and many of the artists on this compilation recorded their frst few songs, secretly, in these premises thanks to Monsieur Awono, the church engineer. He knew the schedule of the priests and, in exchange for some cash, he would arrange recording sessions. The artists still had to bring their own equipment, and since there was only one microphone, the amps and instruments had to be positioned perfectly. It was a risky business for everyone involved but since they knew they were making history, it was all worth it. At the end of the recording, the master reel would be handed to whoever had paid for the session, usually the artist himself..and what happened next? With no distribution nor recording companies around this was a legitimate question.More often then not it was the french label Sonafric that would offer their manufacturing and distribution structure and many Cameroonian artist used that platform to kickstart their career. What is particularly surprising in the case of Sonafric was their willingness to take chances and judge music solely on their merit rather than their commercial viability. The sheer amount of seriously crazy music released also spoke volumes about the openness of the people behind the label.But who exactly are these artists that recorded one or two songs before disappearing, never to be heard from again? Some of the names were so obscure that even the most seasoned veterans of the Cameroonian music scene had never heard of them. A few trips to the land of Makossa and many more hours of interviews were necessary to get enough insight to assemble the puzzle-pieces of Yaoundé’s buzzing 1970s music scene. We learned that despite the myriad diffculties involved in the simple process of making and releasing a record, the musicians of Yaoundé’s underground music scene left behind an extraordinary legacy of raw grooves and magnifcent tunes.The songs may have been recorded in a church, with a single microphone in the span of only an hour or two, but the fact that we still pay attention to these great creations some 50 years later, only illustrates the timelessness of their music.
Dick Essilfie-Bondzie was all ready for his 90th birthday party when the Covid pandemic hit. The legendary producer, businessman and founder of Ghana’s mighty Essiebons label had invited all his family and friends to the event and it was the disappointment at having to postpone that prompted Analog Africa founder Samy Ben Redjeb to propose a new compilation celebrating his contributions to the world of West African music.
For most of the 1970s Essilfie-Bondzie’s Dix and Essiebons labels were synonymous with the best in modern highlife, and his roster was a who’s-who of highlife legends. C.K. Mann, Gyedu Blay Ambolley, Kofi Papa Yankson, Ernest Honny, Rob ‘Roy’ Raindorf and Ebo Taylor all released some of their greatest music under the Essiebons banner.
Yet Essilfie-Bondzie had been destined for a very different career. Born in Apam and raised in Accra, he was sent to business school in London at the age of 20, and returned to the security of a government job in Ghana. But his passion for music, inspired by the sounds of Accra’s highlife scene, had never left him, and in 1967 he figured out a way of combining music and business by opening West Africa’s first record pressing plant.
The venture, a partnership with the Philips label, was a huge success, attracting business from all over the continent. By the early 1970s Essilfie-Bondzie had left his government job to concentrate on his labels, and by the mid-seventies he was on a hot streak injecting album after album of restless highlife into the bloodstream of the Ghanaian music scene.
Essiebons Special features a selection of obscure workouts from some of the label’s heaviest hitters. But in the course of digitising his vast archive of master tapes, Essilfie-Bondzie found a number of Afrobeat and Instrumental maszterpieces tracks from the label’s mid-70s golden age that, for one reason or another, had never been released. Those songs are included here for the first time.
Sadly Essilfie-Bondzie passed away before the compilation was finished. But his legacy lives on in the extraordinary music that he gave to the world in his lifetime.
Download for LP from Bandcamp also includes unlimited streaming of *Essiebons Special 1973 - 1984 - Ghana Music Power House* via the free Bandcamp app along with high-quality download in MP3, FLAC and more
Double LP pressed on 140g virgin vinyl comes with a full color 12-pages booklet
In 1972, the country of Rhodesia – as Zimbabwe was then known – was in the middle of a long-simmering struggle for independence from British colonial rule. In the hotels and nightclubs of the capital, bands could make a living playing a mix of Afro-Rock, Cha-Cha-Cha and Congolese Rumba. But as the desire for independence grew stronger, a number of Zimbabwean musicians began to look to their own culture for inspiration. They began to emulate the staccato sound and looping melodies of the mbira (thumb piano) on their electric guitars, and to replicate the insistent shaker rhythms on the hi-hat; they also started to sing in the Shona language and to add overtly political messages to their lyrics (safe in the knowledge that the predominantly white minority government wouldn’t understand them). From this collision of electric instruments and indigenous traditions, a new style of Zimbabwean popular music – later known as Chimurenga, from the Shona word for ‘struggle’ – was born. And there were few bands more essential to the development of this music than the Hallelujah Chicken Run Band.
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