To be released May 6, 2022.

The Staples Jr. Singers were part of a vanguard of soul gospel artists in the 1970s that broke from tradition to testify with the groove. When they wrote these songs — all of them stone cold soul — they had one question on their minds: When Do We Get Paid? 

“We were so strange and we were so young,” said Edward Brown, a singer in the Staples Jr. Singers, “and a lot of people didn’t understand that.”

Like many gospel groups at the time, the Staples Jr. Singers were a family band: Annie, A.R.C., and Edward Brown from Aberdeen, Mississippi. They were just teenagers when they started, in 1969—they named themselves after their idols (the Staple Singers, if we need to spell it out for you)—and they built a reputation by playing school talent shows and front yards near their hometown on the banks of the Tombigbee River.

Every weekend, they would pile into their family van and travel across the Bible Belt, performing sometimes as many as three shows in a single day. Back then, the South was desegregated on paper but not always in practice, and the Staples Jr. Singers weren’t always sure what kind of welcome they would receive—whether a new audience would embrace them, whether local restaurants would serve them.

Edward remembers one trip to a small town outside of Birmingham, where the band tried to get a bite to eat before their program started. “We couldn’t understand,” he said. “We sat there and waited. Everybody who came in would step before us. And finally there was a lady there, she came to us and said, ‘They gave me the message to tell y’all we’re not gonna feed y’all. Y’all are going to have to leave here.’” But there was a little store down the road that sold us some cold cuts. We went on to that store and God made that food taste just as good as that restaurant.” 

The Browns got their big break in 1975, when a traveling gospel singer Joe Orr introduced them to a man who ran a now long gone recording studio in Tupelo—like a figure from a parable, he only went by the name of Big John. They drew inspiration straight from their lives. 

“It was kind of like some of the things that my parents were going through,” said Annie. “They didn’t have much, but the little they had, they tried to take care of the family. My daddy used to work, come home and make sure that we had food, clothes on our back, and a place over our head. So, those songs had the meaning of some of the things that we were going through.”

Forty years, three generations, and countless performances later, the original members of the Staples Jr. Singers are still on the circuit, performing almost every weekend with their families. Though they don’t go by the Staples Jr. Singers anymore—they changed their name to the Brown Singers in the late 70s, then marriage made two bands out of one: Annie Brown Caldwell formed a gospel dynasty of her own, the Caldwell Singers, with her husband and daughters. 

While the Browns and Caldwells have written an entire catalog of gospel music since the era of When Do We Get Paid, for the Staples Jr. Singers, the incantatory funk of this music still holds the power to help make a way out of dark and troubled times. 

“I can be a witness,” Annie said. “Back then you could feel it. You were basing it on yourself. These are the songs that are really going to take us over.” 

---

Annie Brown Caldwell - Vocals 
Edward Brown - Vocals
A.R.C. Brown - Guitar 
Ronnel Brown - Bass
Corl Walker - Drums

I'm Going To A City

From the outback of Brazil to the favelas of Adelaide, Xanga hurls bolts of lightning at the people chosen to be his followers, leaving behind imprints of stone axe blades on the Earth's crust. 
With a collection of ambulant drum patterns and raw junk-box rhythms Xanga set the mood for a party. A real party. Forget the deep basslines and moody melodics for a second and put yourself in the hands of these propitious shamans of movement. 
Baile funk saw its rise in the international spotlight around the mid 2000's. It then faded back into the shadows not too long after... what we tend to forget that it still existed and continued to thrive, grow and develop in its homelands and even abroad…. This is where it is at now - the energy is still the same but the ideas are forward thinking whilst still honest to their roots - the roots of the party and the people that built it. 


Rapoiera (Instrumental)

Moreno Veloso's beautiful new album "Coisa Boa" is now available on Luaka Bop http://luakabop.com/current-artists/moreno-veloso/coisa-boa/ 

Moreno Veloso "Em Todo Lugar" (Javelin Remix)

Buy Vinyl

Airships - Dear Neptune

PARIS DJS SOUNDSYSTEM
"Massive Hits From The Grant Phabao Factory"

Help us press this on a 15 CDs / 3 Boxsets anthology :
http://www.kisskissbankbank.com/paris-djs-15-cds-boxsets-collection

Buy CD

Grant Phabao Afrofunk Arkestra - Ymoja

SSS015 SIDE 2 - SWINGIN STARS // JAM JAM (Excerpt)

La Luz - TEMPLE RE/VISION

Bim-bim-bim

Pre-Order here:
https://www.fatbeats.com/products/v-a-as-10-mais-boogie-vol-1-lp-gold-vinyl
https://fatbeatsrecords.bandcamp.com/album/as-10-mais-boogie-vol-1

What exactly is Boogie? Is it a genre, an era, a style? Colours, clothes, textures are all part of its make up. For me, Boogie is the "top shelf" music of the 80's. Anything from this era that brings along Moog synths, vocoders, DX7s, or triggered Oberheim drum sounds, is Boogie!

Brasil has a huge archive of underground dance-floor heat. Different styles of music ranging from Macumba to Samba, MPB to Pop, Electro to early Hip Hop, were all stung by this Brasilian "Boogie Bug", cleverly orchestrated by geniuses of the style; Robson Jorge, Lincoln Olivetti, Junior Mendes, Mister Sam, Sergio Sá, to name a few, were the backbone of uncountable projects by big names of Brasil´s pop and underground music scene during the 80´s.

This compilation brings together a bunch of non-obvious "compactos" (33 RPM 7" singles), most of them, promos, which never saw the light of record store shelves, but instead sat for years in the dead-vaults of radio stations or ended up in sebos, flea markets, church basements to junk yards.

I´m excited to put together this eclectic selection inspired by the finest in brasilian 80's music. Even after so many years, Brasil's  most obscure boogie gem is yet to be found on a long diggin' session thru thousands of records full of weird looking haircuts, somewhere near São Paulo or Rio de Janeiro. 
This project is dedicated to all the "Boogie Heads" doing what they do best, keep searching!

B3-Macaco Pesado - Newton Drinck Water

Visions

Berimbau

>> Spotify, Deezer, Bandcamp : https://kuronekoMedia.lnk.to/FoliKadi

Following up on their collaborative single with Colombian trio Ghetto Kumbé, released in November 2020, Parisian collective and record label Mawimbi unveils another extract from their debut album, to be released in June, 2021.

Although it definitely sounds like “afro electro”, a genre Mawimbi has been championing since their debuts as a DJ collective, “Fôli Kadi”, their second single in collaboration with Malian artist Fatim Kouyaté (Midnight Ravers), offers a more intimate and melodic profile, drawing in the inherent melancholy  of Mandingue music and the power of contemporary pop music.

"Fôli Kadi" has some of the essential features found in Mawimbi's debut album. In its musical content on the one hand, as it plays on a subtle balance between a dance beat and emotional melodic content, which gradually rises and ends in a cascade of kora and cymbals.

In its history too, because more than any other tracks on Mawimbi's LP, "Fôli Kadi" owes a lot to the meetings and opportunities gleaned by the collective over the last five years. Their collaboration with kora player Chérif Soumano and singer Fatim Kouyaté was made possible by Lyon-based producer Dom Peter, leader of Franco-Malian project Midnight Ravers and manager of Blanc Manioc. "Fôli Kadi" was made "here and there", through chance encounters and the sharing of musical vibes - for example, Soumano's kora line was recorded in one take as he was passing by the studio to send his greetings. 

"Fôli Kadi" translates to "music feels good" in bambara, a language widely spoken in Mali! 

Drums by Romain Vignaud, recorded at Red Bull Studios
Percussion by Yannick Van Ter Beek
Kora by Cherif Soumano
Vocals by Fatim Kouyaté
Bass, keys & production by Adrien Colle (Mawimbi)

Written by Adrien Colle, Chérif Soumano & Fatim Kouyaté.
Produced and arranged by Adrien Colle.
Mixed by Nicolas Taite.
Mastered by Cem Oral @ Jammin Masters.
Artwork by Michaël Sallit.

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Mawimbi - Fôli Kadi (feat. Fatim Kouyaté)

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I'm Going To A City

Luaka Bop

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