Deke Tom Dollard
Na You

A 12inch single from the incredible French Afro Funk band including remixes by the one and only Osunlade under the collective name of Yoruba Soul!Since their first acclaimed album Apiafo and its irresistible single “Pas contente”, these Lyon (France) natives never turned down the heat over 160 stages across Europe, Africa, Canada, Japan... Peter Solo has displayed his amulets, voodoo chants and charisma around the globe. When it came time for them to harness their Afro Soul sound for the second time, they turned their attention once again to their analog strengths. On the road Peter Solo and Osunlade met and could share their musical visions. It was obvious that this two will share their spiritual music experiences.Kidayu is the name of the second opus which means “sharing”: it’s exactly what those versions of “On se pousse” are about: a true futuristic Hi-life, a great meeting of two ardent defenders of the Afro Soul sounds ! Limited press, mastered by Carvery.

Thomas Blanchot, 40 years old percussionist and drummer, started his production structure Mato Production in 2001, where he collaborated and directed for many projects.Composer, music publisher and producer of music for TV, advertising, films and records, he also began a career as reggae producer since 2006, under the name "MATO". Since then he’s released music through various projects concepts, coming out through labels such as Makasound, EDR Records or Big Singles. In the meantime he developed a real trademark: taking over classics French, Hip-Hop, or Pop song, into roots reggae-dub new versions.Besides since 2010, Mato has built a solid reputation thanks to his hot remixes of Hip-Hop classics on Stix Records. And in 2014, he presented Homework Dub, giving his own vision of the multiplatinum classic album by Daft Punk, quickly acclaimed internationally as a true performance.Today, Mato is back with another target for his special skills as a tailor of reggae music, this time focusing on classic musical themes from original soundtracks. Imagine if Lalo Schiffrin, Nino Rota, Gorgio Moroder, Ennio Morricone or John Williams had been blunted at Lee “Scratch” Perry’s Black Ark studio… there you go, this is Hollywoo Dub!!

Voilaaa is one of the many projects led and produced by Bruno “Patchworks” Hovart, who’s proven over the past 15 years, his place amongst the finest producers of groove music in all genres.This time exploring the wide spectrum of the African and Tropical Disco scene, he received a massive international support for Voilaaa’s first album, On te l’avait dit, released late 2015 on Favorite Recordings.With a second effort already planned for spring 2017, Voilaaa has not finished to feed international dancefloors with heavy Afro-Disco vibes.Here comes the first single from Voilaaa’s upcoming second efforts, made of 3 new killer tunes featuring Lass, Sir Jean, and Pat Kalla.

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.

The Diva Faïrouz.Her real name Nouhad Haddad, she was born in the Zokak el Blat district of Beirut. The eldest of a modest Maronite family, she developed a passion for singing very early on. Her parents are too poor to afford the luxury of a radio, so she spends most of her time listening, her ear glued to the wall, to the neighbors. Nouhad quickly memorizes the songs she hears and gives a few samples at parties organized by her school. It was there that she seduced her comrades with her vocal abilities and that she was noticed in 1947 by the composer Mohammed Fleyfel.The echo of his velvety voice reaches Halim el Roumi, talent scout, renowned singer-songwriter and director of Lebanese Radio, who asks to audition him immediately. Literally fascinated, el Roumi introduced him to the choir of Radio Beirut, baptized it with the name of Faïrouz and became its appointed composer. Then, he introduces her to Assi el Rahbani, a young avant-garde composer who, in the company of his brother Mansour, wishes to renew a Lebanese song under profound Egyptian influence.The teenager Faïrouz succumbed to the personal charm of Assi, whom she married in 1954, and to that of his compositions (the model couple of Arab song would be separated by the death of their husband in 1986). The heavenly trio causes, from the publication of its first titles, a real musical revolution. Traditionalists howl at sacrilege and distortion while sympathizers of the rejuvenation and modernization of Lebanese folklore, weary of insipid refrains and pale copies, show their enthusiasm.In 1957, Faïrouz opened the International Festival of Baalbek (a locality mentioned in one of his flagship titles) and sang in the middle of the six columns of the Roman temple. This initial encounter with his audience, who warmly welcomed him, earned him the nickname "seventh column". Faced with this fabulous galloping success, the Rahbanis are stepping up their offensive and courageously playing the card of constant innovation. They wrote for Faïrouz musical sketches, operettas and, from 1962 to 1976, about fifteen sung plays in which she plays the role of a woman in love with Love, the true, the pure, the innocent. , and that of hope. She also appears in a few films but she quickly interrupts her cinematic odyssey.It is still and always one of the major references of Arabic song and many of its titles, such as "Bint el Chalabia", are hummed as much by the new generation as by the old.

Harlem Pop Trotters is one of the best jazzfunk albums in the French library, and one of the grooviest too. Written & produced by Jean Claude Pierric & François Rolland for Les Tréteaux in the mid ‘70s, this real masterpiece is now reissued on Underdog Records (Janko Nilovic, Martial Solal) in a rare colored edition!