Dambakale - Compaoré Issouf

Greetingz every Body & Soul!
Here the 3rd round of Koraï Edits, fasten your seat belts and get ready for a musical journey from Africa to the Caribbean!

The First track is a re-edit from one of our all time favorite Makossa banger AFRICA (Money make man mad) , by Clement Djimogne originally recorded in 1984 in Cameroon , a upbeat killer tune with positive message for the African continent still rocking dancefloor worlwide until today.

The second edit will take you to Trinidad with a 90s soca gem I WANT YOUR LOVE ( 1998) , by Peter Britto, a powerfull love songs mixing soul calypso, disco and 90s house music with a pinch of Dub.

We do not own the right;
we just buy records, digital tracks and used them to share our vibes.
Feel free to play loud.


● Youtube : www.youtube.com/@kactuskorai7961
● Instagram : www.instagram.com/kactuskorai
● Facebook : www.facebook.com/kactuskorai
● Soundcloud : soundcloud.com/kactuskorai


Released November...  more
credits
released November 3, 2023

Edited & designed by Kaztet D & Puppa Elpee for Kactus Koraï
All tracks edited by Kazdi Koba (Gregoire Hurard)
All Artworks designed by Peetah Wabi (Pierre Biard)

KKED003 - 2023
license
all rights reserved
license
all rights reserved

Clément Djimogne - Africa (Kactus Koraï Edit)

Honoré Avolonto - na mi do gbé hué nu

Karma

Lloyd Armstrong-Show Off

Siempre Cuates – Reggae Infused by The Jamaica Band vs Caribe 3
This album fuses The Jamaica Band’s reggae foundation with Caribe 3’s Latin tropical flair. The title Siempre Cuates (“Always Friends”) reflects a spirit of camaraderie and cultural exchange, where reggae’s deep basslines and offbeat skank guitar meet Caribe 3’s lively rhythms, melodic harmonies, and festive Caribbean influences. The collaboration creates a vibrant soundscape that feels celebratory and warm, highlighting reggae’s adaptability to Latin ensembles while emphasizing themes of friendship and unity. The result is a cross-cultural dialogue that blends island groove with Latin tropical energy, carrying both rhythmic drive and emotional resonance.

Siempre Cuates - Reggae Infused

Selección de Cha-Cha-Cha Reggae EDM Radio Edit

Waiting For My Baby - De Frank & his Professionals

- La Chi fat edit - 

Waiting For My Baby (De Frank & his Professionals) La Chi Re-ed

Cameroon, 1978: it’s like any good western movie. A man drifts through the plains at the furthest edge of the country in search of two former gunslingers, hoping to coax them out of retirement for one last showdown. Except this time, the weapons are guitars and the gunslingers are Jean Gabari and Messi Martin – the calm sheriff and his hot-headed deputy – who had led the band Los Camaroes to superstardom at the beginning of the decade.

Los Camaroes emerged at the end of the 1960s from the town of Maroua in the northern, predominantly Islamic area of Cameroon. After changes in name, in lineup and in management, they worked their way south to the capital to make a name for themselves; in the span of only a few years they changed Cameroon’s music scene forever, leaving a trail of sold-out nightclubs and monster radio hits in their wake. Then, at the height of their popularity, they broke up. 

The band had been led from the beginning by Jean Gabari, whose level-headedness and even-handedness inspired the respect and devotion of his musicians. But it was Gabari’s alchemical collaborations with guitarist Messi Martin that drove the band to its greatest heights. Martin had developed an innovation that would earn him fame throughout Cameroon as the “king of Bikutsi”, as Johnny Cosmos explains: 

“The primary instrument in Bikutsi is the balafon, and Messi came up with a trick that consisted of chewing small pieces of paper until they reached the right consistency and then stuck them between the strings of the guitar. This trick, which made a guitar sound like a balafon, catapulted him to stardom and turned him into the founder of Modern Bikutsi.” (Check the song “Bezimbi” to hear Messi Martin´s wizardry on a Bikutsi tune)

Martin’s extraordinary talents were matched by a character of great unpredictability. He had been lured away from the band before by the promise of success and, in 1975, when Los Camaroes were at the peak of their power, he left them once again. Gabari tried to keep the band going, but his own longstanding battles with ill health eventually forced him to return to his hometown. With Gabari and Martin gone, the rest of the musicians drifted away in search of other gigs. By 1978, Los Camaroes were no more than a rapidly fading memory.

But then came the resurrection.

From out of nowhere, a businessman named Atangana Joseph appeared in northern Cameroon. His goal: to track down the original members of Los Camaroes and get them back together for their one final shot at immortality. The musicians reconvened at the legendary Mango Bar in the capital city of Yaoundé, the very place where, years earlier, they had established their reputation as one of Cameroon’s most fearsome live bands.

Producer Nicolas Mongué and engineer Emmanuel Guyssot were called in from Douala to record what was being billed as a comeback album. There was talk of going into a studio, but Los Camaroes had always thrived on the energy of the nightclub scene; they decided instead to record it live to two-track in the Mango Bar.

The album, Resurrection Los Vol. 1, was completed in only a few days. There would be no Volume 2. The music that emerged during the Mango Bar sessions was the culmination of a fifteen year musical bond between Gabari and Martin, and what was supposed to be a comeback album ended up being a last testament — Gabari would die only a few years later and Martin, without his foil, would never find the same level of musical success. Even at the time, these two titans of Cameroon’s music scene seemed to realise it would be the last time they would ever work together. The resurrection of Los Camaroes was short-lived … but it produced a masterpiece.

Resurrection lOS

Resurrection Los - Los Camaroes

ORORO NO DE FADE

OSAYOMORE JOSEPH & THE ULELE POWER SOUND - ORORO NO DE FADE

Analog Africa return with another batch of wildly original Vodoun-inspired funky bliss from Benin. The West African country was busting out domestic pressings of heavy dancefloor shakers through the 60s and 70s and African Scream Contest 2 collects some of the most explosive of this wave. Label head Samy Ben Redjeb went straight to the source for these cuts, tracking down artists with the help of a former KGB agent who also happened to be in one of the hottest Afrobeat bands of the time. Luckily this sleuthing was focused on a positive goal, helping to revive this bubbly bouncer from Orchestre Poly-Rythmo de Cotonou and thirteen other stellar songs. Frosty premiered ‘Moulon Devia’ on Open End, his world-whirling weekly Red Bull Radio program. Tune-in every Monday for more!

@analog-africa
@freeform-frosty
http://redbullradio.com/shows/open-end-frosty
http://redbullmusicacademy.com

African Scream Contest 2

Orchestre Poly-Rythmo de Cotonou - Moulon Devia [Open End Premiere]

The Red Bull Music Academy is a world-travelling series of music workshops and festivals: a platform for those who make a difference in today's musical landscape. Here, you'll find exclusive downloads and streams from Academy participants, family, and friends.