Oct162018| October 16, 2018
A knock-out record.
Le Stim’s ‘A Tribute to Muhammad Ali (We Crown The King)’ is being reissued on vinyl for the first time, this November via Melodies International.
The 12″ follows Melodies’ reissue of Trio Ternura’s ‘A Gira’ – one of our favourite dance records in September, as well Frankie Knuckles’ shimmering Womack & Womack ‘M.P.B.’ edits – one of our favourite dance records in May.
Le Stim was a Detroit band fronted by Donald Jennings, who was largely a gospel singer. However, in the late ’70s the writer of ‘We Crown The King’, Herbert Andrei Duncan, spent five years convincing Jennings to lend his vocals to the funky track, who was concerned the singing was out of his range.
Jennings acquiesced and recorded the tune in 1980 – it later became a became a disco party anthem, fuelled by its anthemic “Muhammad Ali, woo yeah!” exultations.
As Melodies shares: “According to Jennings, Ali did hear the track back then and liked it! Le Stim were in touch with Ali’s management and were about to meet him on a number of occasions which unfortunately didn’t work out.”
‘A Tribute to Muhammad Ali (We Crown The King)’ has been remastered from its original tapes – cut at half speed “to bring the shine out the top end” – for this 12″ reissue, and comes with exclusive Melodies Stickers.
Pre-order a copy here ahead of its November release and check out the cover art in full below.
Sep202018| September 20, 2018
Half-speed mastered by Miles Showell at Abbey Road.
Nile Rodgers and Chic have announced the release of a 6xLP box set The Chic Organization 1977-1979, marking the 40th anniversary of hit single ‘Le Freak’, the biggest selling 7″ in Atlantic Records’ history.
Read next: 7 essential Nile Rodgers records
Released via Atlantic and Rhino, the box set will include the disco juggernaut’s first three albums CHIC (1978), C’est Chic (1978) and Risqué (1978), as well a new edition of Chic’s first single – a 12″ promo for “Dance, Dance, Dance (Yowsah, Yosah, Yosah)” released by Buddah Records in 1977.
Rodgers oversaw the remastering process personally, which took place at Abbey Road under the eye of half-speed maven Miles Showell, with the approval of Bernard Edwards’ estate.
As Rodgers says, “It was important to me that we make these the best sounding editions ever as a tribute to ‘Nard. I’m quite certain that Miles Showell and I and the team at Abbey Road succeeded. 40 years later this all feels so fresh.”
The Chic Organization 1977-1979 will be released on 23rd November, following Chic’s first new album in 26 years, It’s About Time, which will drop on 28th September.
Aug162018| August 16, 2018
What connects New York’s no wave scene, Salsoul remixer Shep Pettibone, ’80s pulp fiction flick Desperately Seeking Susan, and a UK dub producer’s childhood living room “danceteria”?
Wrongtom celebrates Madonna’s 60th birthday with a personal journey ‘Into The Groove’ of Madonna’s 1985 hit.
It’s the summer of 1985 and I’m stood in one of my favourite places on earth, the back room of my mum and dad’s house. (I was 10 and had hardly been anywhere else). I’m eagerly poised in front of the record player with a fresh new Madonna 7″ straight from WH Smith. It goes on the deck, the needle drops and in come the caustic electronic drums and chugging synth bassline. Madonna coos, “and you can dance… for inspiration” and within seconds I’m cutting ridiculous shapes across the carpet which is already buckled and chafed, much to my mum’s dismay, due to my brother and his gang learning to breakdance.
The track finishes, and I quickly whip the needle back to the start, repeating and elaborating on the routines with every play, until someone in the house gets sick of hearing it over and over, or I’m called out for dinner. This was a common routine with many a record, but for some reason, ‘Into The Groove’ stands out more than most.
Sometimes I’d take it over the road to play it on my grandad’s old stereogram. An old-fashioned and inappropriate piece of machinery for such new-fangled machine music. My grandad, a former rag-time pianist, was bemused yet not despondent. Undeterred, I continued to dance. When he tired of it, I’d head to my neighbour Jim’s house where he’d join me in my elastic movements across his parents’ living room.
I’m not sure when I got bored of it myself – if I did at all – but it was obviously good enough to include on my first ever mixtape which I put together in December that year, alongside the likes of Doug E Fresh, Grandmaster Flash, Phil *ahem* Collins, and ‘Think Of Me’ also by Madonna.
Skip forward to 1987 and my brother comes home with You Can Dance, an album of Madonna classics remixed and mixed together much like Morgan Khan’s Electro series, which were also firm favourites in our backroom danceteria. I’m listening through the album, sometimes dancing, but it all sounds slightly off, though not necessarily in a bad way. Suddenly there’s the cooing again, and then the drums, followed by hiccupping vocal stabs, “ca-ca-ca-ca-ca-ca-ca-ca-ca-ca-ca-c’mon!” before the full track eventually cuts through the anticipation. You guessed it, I’m dancing, through the verse, into the chorus and out of the bridge, when out of nowhere Madonna calls out “You Got To…” echoing into a percussion break. I stop dancing, initially out of shock and surprise, and then just to listen.
The You Can Dance version of ‘Into The Groove’ marks what was probably my first visceral experience with the art of the remix. I’d heard dub and hip-hop tracks which did this, but not with tracks I’d devoured to this extent. I was fascinated, especially after the breakdown, where remixer Shep Pettibone drops out whole sections, refocussing the bassline, or repurposing a vocal harmony so it’s now the lead. I revisited this technique myself when tackling recent Django Django tracks for my Marble Dubs mini album. It’s a track that’s stayed with me, shaped my career, still winds up in my DJ box, and even after I’d finished sitting and picking it apart that day in ’87, it continued to make me dance.
Despite dissecting it to within an inch of its life, exactly what makes me love this record so much still alludes me. Despite loving a fair few Madonna records, I wouldn’t call myself a huge fan. Sometimes I find her voice a little jarring. There’s even something clunky about the song, though I guess that’s its naive charm. Beyond all her bravado, flamboyant wardrobe, and shading Kevin Costner for using the word “swell”, she’s just a girl that wanted to dance.
I’m sure the film Desperately Seeking Susan, which featured the song, helped with the fascination. As a kid, Susan Seidelman’s paean to Downtown Manhattan, as seen through the confused eyes of a concussed Jersey girl, seemed ridiculously cool. By the ’90s, people would tell me it was ’80s pop-dross, but in hindsight it’s perhaps the glossy swan song of No-New York, the precocious little sister to the no-wave films which preceded it, by the likes of Amos Poe, Beth & Scott B, and Seidelman herself, whose debut feature Smithereens was largely overlooked.
Don’t believe me? Take a few minutes to wade through the cameos and walk-ons from some of no-wave’s key players: Richard Hell as Susan’s already dead one night stand, DNA’s Arto Lindsay as the classified ads guy giving the film its name, Konk trumpeter and original Sonic Youth drummer Richard Edson shows his face, (Fishing With) John Lurie is Dez’s sax playing neighbour. No, this is more than just your average wacky ’80s romance; it’s peppered with satire and subtle jokes about gentrification and ’80s excess. I still chuckle when the nouveau-riche Gary Glass exclaims “you bought a used jacket? What, are we poor!?” then later finds himself completely out of his comfort zone following Madonna, as Susan, into a club and onto the dance floor, where she flails her limbs and gyrates to her own song, confusingly.
Perhaps it’s the confusion that appeals. On the surface, ‘Into The Groove’ is prime plastic pop, but is it a love song about dancing, or a dance song about loving? It’s a song Madonna admitted she feels “retarded singing, but everyone seems to like it.” But behind these simple monochrome lyrics is a more colourful backdrop, with writer/producer, and Madonna’s former Breakfast Club bandmate Stephen Bray tapping into NYC’s club scene, particularly the Nuyorican freestyle-electro sound. There’s a darkness to the track, its minor key reflecting dimly-lit dance floors, and a strange melancholy echoing the film’s desperate theme. It seems ridiculous now that Madonna could pine for a dance partner, but there she was, tired of dancing all by herself to frenetic Puerto Rican style electro funk.
As she says of the track’s composition: “When I was writing it, I was sitting in a fourth-floor walk-up on Avenue-B, and there was this gorgeous Puerto Rican boy sitting across me that I wanted to go out on a date with, and I just wanted to get the song over with. I ultimately did go out with him and the song was finished just before my last date with him, which I’m kinda happy that it did not continue… The dance floor was quite a magical place for me. I started off wanting to be a dancer, so that had a lot to do with the song. The freedom that I always feel when I’m dancing, that feeling of inhabiting your body, letting yourself go, expressing yourself through music. I always thought of it as a magical place – even if you’re not taking ecstasy. Hence that came to me as the primary inspiration for ‘Into the Groove’.”
Maybe it’s this magical place that caught my attention. My mum’s back room might have been a different world from those murky Manhattan dance floors, but within seconds of hearing that bassline I was there, with Madonna, flinging my limbs around in wild freedom. Anywhere I could dance was, and continues to be my magical place, and thanks in part to Madonna I keep dancing, for inspiration.
Jun142018| June 14, 2018
Despite a surge in popularity over the last decade thanks to a series of high-profile collaborations and massive tours, Nile Rodgers’ last album with Chic was 1992’s disappointing Chic-ism. Now, the veteran disco act is back with a brand new album that sports an intriguing cast of contributors.
It’s About Time is set to feature appearances from UK garage legend Craig David, PC Music producer Danny L Harle, rapper Stefflon Don, Cali crooner Anderson .Paak, singer Nao and Mura Masa.
Rodgers and his troupe appeared on the BBC’s Later… with Jools Holland last night to debut the first single ‘Boogie All Night’ with Mura Masa and Nao.
It’s About Time will be released on 7th September via Virgin/EMI.
May102018| May 10, 2018
More than just a disco love machine.
Cosmic space funk troupe Supermax was a project founded in Frankfurt during the late seventies by multi-instrumentalist Kurt Hauenstein.
Best known for their hit 1977 single, ‘Love Machine’, the group later became the first multi-racial band to tour South Africa in the early nineties, despite death threats throughout their 21-date tour.
To take you through the funky canon of Supermax’s 11-album output, are production and DJ duo Earthboogie, whose first full length LP Human Call is out 11th May on Leng.
Listen to the mix and check out the track list below:
1. Fly With Me (Ichisan Edit)
2. African Blood (1979 Version)
3. Future Time
5. Dance Dance Dance
6. It Ain’t Easy
7. Love Machine (12″ Version)
8. Supermax [This is the name of track!]
9. Be What You Are
10. Don’t stop the Music (1997 Version)
11. African blood (1997 Version)
Earthboogie’s Human Call is out 11th May on Leng.
Feb232018| February 23, 2018
The Brazilian legends return.
Festival dance-floor collective Far Out Monster Disco Orchestra will release their second album Black Sun via Far Out Recordings in April.
Following their self-titled debut in 2014, FOMDO have enlisted some of Brazil’s funkiest musicians for this second outing, featuring fusion trio Azymuth, Carioca soul originators Banda Black Rio, and full orchestral arrangement duties split between Arthur Verocai, and Azymuth’s late Jose Roberto Bertrami.
In 2016, Azymuth announced their return with the release of new album Fênix on Far Out, while both Arthur Verocai and Band Black Rio have seen their most important records reissued by Mr. Bongo in recent years.
Far Out Monster Disco Orchestra’s Black Sun will be released on 2xLP via Far Out on 20th April. Pre-order a copy here and hear the title track below.
1. Step Into My Life*
2. Black Sun*
3. Flying High*
4. Give It To Me*
5. The Two Of Us*
6. Walking Bass*
7. Where Do We Go From Here*
8. Step Into My Life (Instrumental)*
9. Black Sun (Instrumental)
10. Flying High (Instrumental)
11. Give It To Me (Instrumental)
12. Where Do We Go From Here (Instrumental)
*Tracks on Vinyl LP
Feb212018| February 21, 2018
Synth-funked Afro-cosmic groove from the Berlin-based duo.
Naples natives Nu Guinea have announced the release of their new album Nuova Napoli, via their own NG Records label.
As much a sign of the city’s rude health when it comes to dance music, Nuova Napoli also pays homage to the city’s favourite sons Pino Daniele, Napoli Centrale, Tony Esposito, and Tullio de Piscopo, who pioneered Naples’ hybrid Afro, jazz and disco sound of the ’70s and ’80s.
The duo worked with an array of synths from their Berlin studio, and enlisted a number of the Neapolitan scene’s top musicians in the process. Hear snippets from Nuova Napoli below:
The release follows their 2016 debut The Tony Allen Experiments, and EPs on Tartelet, Naples’ own Early Sound Recordings, and last year’s much sought after ‘Amore’ 7″.
Back in 2015, Nu Guinea dropped the seriously humid tropical flute house mix, which you can catch up on here.
Nu Guinea’s Nuova Napoli is set to ship around the 27th March via NG Records. Pre-order a copy on Bandcamp and check out the artwork and tracklist below.
1. Nuova Napoli
2. Je Vulesse
3. Ddoje Facce
4. Disco Sole
5. Stann Fore
6. ’A Voce ’E Napule
7. Parev’ Ajere
Feb092018| February 9, 2018
“Funk can emerge from the unlikeliest places.”
Icelandic-born DJ, turntablist and collector DJ Platurn has spent years digging through his country’s rich and thoroughly unexpected history of funk, soul and disco. “I always wanted to tie all these records from the motherland into some sort of release,” he explains. “They traveled over 4,000 miles and all over the West Coast of the U.S. until my pops finally let me have them. He played some of them on his radio shows, and the clubs and events he used to DJ at almost 50 years ago.”
So elusive that you’ll struggle to find half of these on Youtube, let alone Discogs, the hunt for Icelandic rare groove has taken on a personal aspect for DJ Platurn, who used his father Magnus’s expertise and the digging graft of cousin Sveimhugi back home to unpick the funkiest nuggets for a new mix called Breaking the Ice, set to be released at the end of March via Needle to the Groove.
To mark the release, we asked DJ Platurn to give us an introduction to the vibrant ’70s secene in eight records, accompanied by a vinyl-only mix from his personal collection. “Iceland isn’t known for the funk, but anyone who’s a fan of the funk knows it can emerge from the unlikeliest of places. Groove-based music is a feeling that comes from within. No one’s ever put it that well into words. I’m not going attempt to either. It’s just that thing that actually makes finding soulful music on an island deep in the North Atlantic possible.”
Þú Og Ég
Translated as ‘You & I’, this duo cut a few albums in the late ’70s and early ’80s, almost entirely on the disco tip. This particular LP was composed like a lot of the disco comps back in the day, where each track transitions and mixes into the next, for a continuous dance party. There’s solid funky drumming on a handful of the tracks on this one, definitely aimed at the pop dance market. I wish some of the disco-style full lengths were released as 12″s during that era in Iceland, but I assume there was little to no market for it.
Allt í lagi með það
Laddi, Iceland’s legendary funny man, is a famous entertainer in the motherland. He is mostly known for comedic music and acting. Laddi dubbed many characters into Icelandic, in films and TV shows like The Smurfs, and feature films like Aladdin. He is most famous for the unforgettable characters that he created on his own. Regarded as the earliest example of anything remotely resembling rap music in Iceland’s recorded music history, Laddi likely might have heard some early ’80s NY style rap for this track I picked, a joint about a mailman who’s name directly translates to ‘a wolf that saves’.
Vilhjálmur Hólmar Vilhjálmsson, often called Villi Vill, was an Icelandic musician and singer. He was known for having a soft voice, perfectly suitable for the popular music at that time in Iceland. I chose this track for obvious reasons, not only for the funky playing and obvious vocal rip from ‘Staying Alive’, but also because the subject matter is a trip – a groovy burner that is all about nightmares. The drummer slays it on this, with amazing fills throughout the whole track. Couple other interesting joints on the LP, but this is the banger by far.
(SG Hljómplötur, 1967)
Hljómar was an Icelandic rock band primarily active in the 1960s. The obvious choice for the mix was their cover of The Mama’s & The Papa’s ‘California Dreaming’, which they reinterpreted lyrically as ‘Farm Boy’s Dream’. It was not uncommon during this era in music, like many groups outside of the U.S., to lift the same melodies for use in covers but make up original lyrics. Side note: I also used a song on the mix called ‘Frisco Disco’ (because CA all day), which is nothing like the Eastside Connection classic, but of course had to be used, due to my West Coast ties.
Olga Guðrún is an Icelandic writer, translator, and composer. This kid’s record stands out from many of the others released in the ’70s because of the musicianship. These cats were serious in-the-pocket players, and it shows. Many of the children’s records from Iceland in the ’70s and ’80s were highly elaborate productions with detailed settings and sound effects, making the experience of listening to them a real trip for youngsters and, with the right imagination, they could take you on quite the adventure. I clearly recall buggin’ out to some wild LPs as a kid and loving all the crazy voices and stories.
Trúbrot were an Icelandic psychedelic/progressive rock band active in the late 1960s and early 1970s. The band was formed in 1969 as a super-group combo of other bands. While the first album is entirely in Icelandic, later albums featured more English singing, which was fairly controversial in Iceland at the time. The track ‘Am I Really Livin’?’ stood out for me in particular, for one because of the ill drum breakdown, but also the intense and frantic progression towards the end of the song. These cats were amazing players and their original compositions were seriously impressive.
Jakob Magnússon is an Icelandic keyboard player, arranger and producer born in Denmark. He worked for some years on the West Coast of the U.S. and released a few jazz fusion records around that time. The original pressing of this LP came out in Iceland and was pressed on clear yellow vinyl. The notable track on here, ‘Burlesque in Barcelona’, was made famous in the digging community by Hi-Tek for R&B singer Jonell’s ‘Round & Round’ back in 2001, which he likely lifted from the US reissue pressing on Warner Brothers, making Jakob the only Icelandic artist ever sampled by an American producer for a hit song.
Glámur Og Skrámur
Í Sjöunda Himni
This is easily my favorite Icelandic kids record. The aforementioned Laddi did voices on this one, as well as numerous famous Icelandic actors. Wildly imaginative, this LP had talking cows and horses, spaceships shaped like coffee cups, songs about missing teeth, and trips to faraway lands made of rainbows and candy. I used quite a bit of material from this one throughout the mix for nostalgia’s sake, but also because the voices and sounds are super bugged out and great for that classic mixtape vibe. Glad I still have this in my collection, because it’s tough to find.
DJ Platurn’s Breaking The Ice is out on 23rd March. Pre-order a copy here.
Jan312018| January 31, 2018
Soundway Records in the studio.
This month, VF Editor Anton Spice is joined by Soundway Records label manager Alice Whittington to get the lowdown on their new compilation Gumba Fire: Bubblegum Soul & Synth Boogie in 1980s South Africa, which charts the country’s explosive and addictive dance floor disco scene.
Selected by Miles Cleret and DJ Okapi, the compilation is something of a follow-up to the label’s superb Doin’ It In Lagos collection last year, and shines a light on a scene getting increasing airplay from adventurous DJs around the world.
From the origins of the name, to the political resonance of the scene and its key protagonists, hear our interview with Whittington as part of a new segment on the show called Reissue Corner, alongside a selection of our favourite new releases and reissues doing the rounds at VF HQ in January.
Mashrou’ Leila – Djinn (Jonny Rock remix) (Hamam House)
Lex Amor – Praises (Touching Bass)
Kokoroko – Abusey Junction (Brownswood)
Basa Basa – Homowo (Vintage Voudou)
K15 – Sunbeams (Eglo)
Stimela – Mind Games (Soundway)
Ntombi Ndaba – Do You Trust Amajita? (Soundway)
Ozila – Wola Wola (Soundway)
Ashiko – Gumba Fire (Madlakadlaka) (Soundway)
Hugh Masekela – Ashiko (Casablanca)
Space Ghost – Colour Waves (Tartelet)
DJ Koze – Seeing Aliens (Pampa)
Peggy Gou – It Makes You Forget (Ninja Tune)
Shams Dinn – Hedi Bled Noum (Smiling C)
DJ Taye – Trippin’ (Hyperdub)
Jeremy Deller x Adrian Sherwood – Freetail Dub (The Vinyl Factory)
James Blake – If The Car Beside You Moves Ahead (Polydor)
Leslie Winer & Jay Glass Dubs – Woodshedded (Bokeh Versions)
Enrico Intra – Insieme (Dualismo Sound)
2 – 4pm: @antonspice of @TheVinylFactory, with special guest @norsicaa, talking about @soundway's new bubblegum soul comp, + new music from @K15music, @philophon & more.https://t.co/x8sGetFfuJ pic.twitter.com/Tlzha0lDUy
— Soho Radio (@sohoradio) January 29, 2018
Dec182017| December 18, 2017
The Bindiga tracks alone would previously have set you back £480+ on Discogs.
Rare disco released by Nigeria’s Duomo Music Ltd. between 1980-1984 is being reissued for the first time, in a new collection from Odion Livingston.
Duomo Sounds Ltd: Nigerian 80s Disco Music To Move Your Soul features 11 funky tracks by artists including Christy Ogbah, Bindiga, Johnny ‘O. Bazz, and Mike Umoh.
The double album reflects the shift in the country’s pop music output, from ’70s highlife to more disco orientated sounds of the early ’80s.
Odion Livingston is a Lagos imprint launched last year by vintage African records collector Temitope Kogbe and ex-EMI producer Odion Iruoje, primarily dedicated to reissuing lost and forgotten records.
Order a copy here, check out the track list and listen to Johnny ‘O. Bazz’s yuletide jam ‘Xmas Eve’ below.
1. Christy Ogbah – Advice
2. Johnny Bazz – Xmas Eve
3. Mike Umoh – Look At Me
4. Mike Umoh – Shake Your Body
5. Bindiga – Disco Connection
6. Christy Ogbah – Aimiuugwia
7. Bindiga – Perfect Disco Machine
8. Bassey Black & The Natty Messiah – On My Mind
9. Christy Ogbah – Azomonfe
10. Godfrey Odili – You Do Good For Yourself
11. Eunice Mokus Arimoku – Ariro
Nov232017| November 23, 2017
A devastating homage to the First Lady of Disco.
Although often pushing its form to the limits, experimental electronic duo Penelope Trappes and Stephen Hindman have long been fascinated by the machinations of the dance floor.
Following a brace of releases on VF, The Golden Filter teamed up with Optimo for new album STILL // ALONE earlier this year. Internalising and then deconstructing the 4/4 pulse of the club, the duo returned to the Glasgow imprint for new EP End Of Times this month to further that exploration of euphoria and despair.
To accompany the release, they’ve put together a stirring 70-minute tribute to disco legend Donna Summer, capturing those contrasts between the rugged and the sensual, the restrained and the liberated, that turned Summer into one of the most irresistible icons of the 20th century.
Listen to the mix and read Penelope’s introduction below.
When I was about 6 years old, I remember listening to ‘Love to Love You Baby’ on TV in Australia and feeling something inside of me, something strange and beautiful that made me feel alive, but also there was a sense of guilt. I knew there was an element to the song that seemed very ‘naughty’, that I loved and that my little self probably shouldn’t fully understand. It was a song that I could get completely lost in.
Donna’s soft vocal delivery over harsh arpeggiated synths and heavy beats have influenced me ever since. The sensual and the hard. I also love how bold of a move it was for a young Christian girl to record such songs back then. Pure rebellion, really, for a woman to openly express her sexuality. It can be difficult for women to feel safe to express this side of themselves, even today.
Nonetheless, in hearing all of her epic tales of love and liberation and female empowerment, there is no denying the profound effect that Donna Summer’s music still has on me, inspiring and uplifting. And her voice… Pure gold!
01. Black Power
02. Sally Go Round The Roses (as Donna Gaines)
03. Love To Love You Baby
04. Intro Prelude To Love
05. Could It Be Magic
06. Virgin Mary
07. Now I Need You
08. No More Tears (Enough Is Enough) (w/ Barbara Streisand)
09. Walk Away
11. Working The Midnight Shift
12. Dim All The Lights
13. If It Hurts Just A Little
14. Grand Illusion
15. State Of Independence
16. Do What Your Mother Do
17. I Feel Love
18. Spring Affair
Oct242017| October 24, 2017
Now boarding a one way flight to Funkytown.
Africa Seven have announced the latest edition of their Africa Airways series: Disco Funk Touchdown 1976-1983, out this November.
The 10-track compilation follows Africa Airways One: Funk Connection 1973-1980, Africa Airways Two: Funk Departures 1973-1982, and Africa Airways Three: The Afro-Psych Excursion 1972-1984.
Featuring sounds from across the continent, highlights include Manu Dibango’s solar sax and xylophone boogie ‘Sun Explosion’, and The Monstar’s fiercely funky, chant-filled bonanza ‘Funny Saga (No Strings Edit)’.
Since launching three years ago with the first Africa Airways LP, the label has released over 40 reissues and compilations, such as Sorry Bamba’s Sorry Bamba du Mali, and Jo Bisso’s Dance To It.
Pre-order a copy here, check out the track list and listen to Jake Sollo’s ‘Tinini Yana’ below.
1. Tala AM – Get Up Tchamassi (Original Mix)
2. Eko – Bowa’a Mba Ngebe (Original Mix)
3. Uta Bella – Nassa Nassa (Original Mix)
4. Charly Kingson – Nimele Bolo (Original Mix)
5. Manu Dibango – Sun Explosion (Original Mix)
6. Kemayo – Biram (Original Mix)
7. Momo Joseph – Africain (Original Mix)
8. Jake Sollo – Tinini Yanana (Original Mix)
9. Pierre Didy Tchakounte – Soul Magabe (Original Mix)
10. The Monstars – Funny Saga (No Strings Edit)
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