Fela Kuti n’est pas l’inventeur de l’afrobeat mais le co-inventeur. Sans Tony Allen qui s’est éteint le 30 avril 2020 à Paris à l’âge de 79 ans, ce genre musical unique n’aurait jamais vu le jour. Au fil des années, justice a été progressivement rendu au 

Tony Allen

Another Disco Funk Monster Rework From Our Friend 'Petko Turner‘.
We’re Talking About Another Forgotten Gem. This Time By The Incredible 'La Palace De Beauté‘  

An Independent Record From The 80’s Is Back 2 The Future.

Nothing Left To Say.

Please Support Mr. Turner Here: https://soundcloud.com/dj-petko

Petko Turner Edit

Sin (Petko Turner Edit)

Available everywhere : https://CMR.lnk.to/Playa

Playa

Why Is It So Hard ?

Finistère

Höhensonne (Extended Mix)

Pomegranate

Charlie Potato

Funksta Gras

Expensive Shit

No Agreement

HomeCooking

Home Cooking

Moanin'

Film Of Life

Go Back (feat. Damon Albarn)

Salmonella Dub wrote WORLD SHE WAITS with Nino Birch in September 2017 at the beginnings of Salmonella Dub's 25yr celebrations after Nino's seminal 80's Wellington post punk band Beat Rhythm Fashion was rejected as Salmonella Dub's influential NZ band  choice to perform their tube PROBLEMS at Sal Dub's invitation from NZ Recorded Music to accept a Tui "Legacy - Hall of Fame" award."

The band graciously accepted the invite but when they were told 6 weeks out from the awards that Beat Rhythm Fashion would be suitable as they did not fit the Awards TV show demographic.

So the band politely turn the award down and released World She Waits - Nov 20 the week of the NZ Music Awards - stating  "We too young for a legacy. We're only half way - please check back in 2043 for our 50th" and having connected with Nino gave him 3 new album tunes to work on, Andy's Jam - Shaping Ground & WSW.

World She Waits - started as an out take from the One Drop East Session in Outautahi 2003. The instrumental bed was rediscovered by Mant and arranged by Andrew  produced by Harry Bretherton - features the inspired lyrical prowess of Nino Birch on global issues, corporate greed and land right clashes both here in Aotearoa and with native American tribes affected by the Dakota oil pipeline project. 

Falsetto backing vox from Dave Deaks + extended Bone motifs and solo from Scotty Taitoko on bone. 

Big phat bass in ya face from Mark Tyler.
Gat chops, melodies and time machine delay from Andrew P.

Extra "Dj' vox from MC the Mighty Asterix.

Mastered by King Willy in Tasmania

World She Waits

...taken from "Lost & Found"on Combination Records (2003)
  
http://www.discogs.com/Hardfloor-Presents-Dadamnphreaknoizphunk-Lost-Found/master/7749
and
http://www.discogs.com/Hardfloor-Dadamnphreaknoizphunk/master/22989 (1995)

Dubdope

Fall To Pieces

Vietnam

Something happened (Pitto instrumental remix)

Progress, Jealousy

Jealousy

Born in Lagos, Nigeria in 1940, of mixed Nigerian and Ghanaian parentage, Tony Allen taught himself to play by listening to records made by the American jazz drummers Art Blakey and Max Roach. He began working as a professional musician in 1960, gigging around Lagos and variously playing highlife and jazz. Today living in Paris, Allen has long been acknowledged as Africa’s finest kit drummer and one of it's most influential musicians, the man who with Fela Anikulapo Kuti created Afrobeat - the hard driving, James Brown funk-infused, and politically engaged style which became such a dominant force in African music and whose influence continues to spread today.

Allen had to overcome strong parental opposition to realise his dream of
becoming a professional musician. “My parents were…not keen. Back then, in Lagos, musicians were more or less thought of as beggars, or worse. But I just put it in front of them. I was an electrical technician, but I wanted to make a change. My mother was never happy about it, but my father, who was an amateur musician, eventually agreed.”

Allen started out as a jazz drummer. “Art Blakey was my big influence, and before that, before I started club crawling, it was Gene Krupa. When I started, I tried to play like Gene Krupa. Then I discovered Blue Note Records and Art Blakey’s Jazz Messengers - it opened up another style to me. Max Roach was important too. I studied some lessons he wrote in Down Beat magazine about how to play high-hats. Most drummers in Lagos never used them, they were just a decoration on the kit,and I’d always thought that was something incomplete.”

Home Cooking

Tony Allen

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