HABIBI FUNK - Forced Exposure

$16.00 IN STOCK

"Lebanese composer and multi-instrumentalist Charif Megarbane returns with Hawalat, a new album that seamlessly blends together a mix of global influences of sounds and collaborations. Hawalat builds on Megarbane's distinct ability to merge Mediterranean psychedelia, jazz, hip-hop, and orchestral elements into an evocative listening experience. Taking inspiration from hawala, a system of informal money transfers made to certain countries impacted by a lack of currency or unstable contexts. Megarbane spins this concept on its head, reimagining it as an artistic exchange spanning cultures, generations, and geographies. This spirit of creative movement is embodied in the album's amalgamative nature, featuring contributions from an international lineup of artists, including London-based jazz vocalist Sahra Gure, Italian-Tunisian singer LNDFK, Neapolitan pianist Dario Bassolino, Berlin beatmaker and violinist FloFilz, and an 18-piece orchestral arrangement by Swedish composer Sven Wunder. Recorded across multiple locations, from Beirut to Brooklyn, Stockholm to a rural French commune, the album's sonic journey mirrors its thematic premise. Musically, the track list of Hawalat travels through a varied journey of textures and temperaments. The album's opener, 'Hanadi,' is a percussive, Somali-inspired groove with wordless vocals and soaring saxophone lines. Tracks like 'Al Dollarji' and 'Al Bahriye' encapsulate Megarbane's signature Mediterranean sound, while 'Helia,' performed with the Stockholm Studio Orchestra, showcases his cinematic sensibilities. 'Jana,' an homage to the late Malian kora master Toumani Diabaté, sees Megarbane transform his guitar into a kora-like instrument, staying true to his commitment to experimentation. Hawalat expands further outwards, exploring themes of diaspora, exile, and artistic migration. The album avoids nostalgic recreations of the past, instead situating itself comfortably in the present with a sound that is both timeless and contemporary. Known for his prolific output -- having released over 100 projects under various monikers -- Megarbane continues to defy categorization, crafting what he calls 'Lebrary music': a borderless, Mediterranean-rooted fusion of library music, Afrobeat, hip-hop, and jazz. His ethos of spontaneity extends to his live performances, where he and his band reinterpret songs anew with each show. In 2024, he toured extensively, often sharing the stage with fellow Habibi Funk collaborator Rogér Fakhr. Through Hawalat, Megarbane reaffirms his place as a global musical storyteller, allowing influences and traditions to cross borders and meet fluidity and spontaneity."

$28.00 NOT IN STOCK

LP version. "Lebanese composer and multi-instrumentalist Charif Megarbane returns with Hawalat, a new album that seamlessly blends together a mix of global influences of sounds and collaborations. Hawalat builds on Megarbane's distinct ability to merge Mediterranean psychedelia, jazz, hip-hop, and orchestral elements into an evocative listening experience. Taking inspiration from hawala, a system of informal money transfers made to certain countries impacted by a lack of currency or unstable contexts. Megarbane spins this concept on its head, reimagining it as an artistic exchange spanning cultures, generations, and geographies. This spirit of creative movement is embodied in the album's amalgamative nature, featuring contributions from an international lineup of artists, including London-based jazz vocalist Sahra Gure, Italian-Tunisian singer LNDFK, Neapolitan pianist Dario Bassolino, Berlin beatmaker and violinist FloFilz, and an 18-piece orchestral arrangement by Swedish composer Sven Wunder. Recorded across multiple locations, from Beirut to Brooklyn, Stockholm to a rural French commune, the album's sonic journey mirrors its thematic premise. Musically, the track list of Hawalat travels through a varied journey of textures and temperaments. The album's opener, 'Hanadi,' is a percussive, Somali-inspired groove with wordless vocals and soaring saxophone lines. Tracks like 'Al Dollarji' and 'Al Bahriye' encapsulate Megarbane's signature Mediterranean sound, while 'Helia,' performed with the Stockholm Studio Orchestra, showcases his cinematic sensibilities. 'Jana,' an homage to the late Malian kora master Toumani Diabaté, sees Megarbane transform his guitar into a kora-like instrument, staying true to his commitment to experimentation. Hawalat expands further outwards, exploring themes of diaspora, exile, and artistic migration. The album avoids nostalgic recreations of the past, instead situating itself comfortably in the present with a sound that is both timeless and contemporary. Known for his prolific output -- having released over 100 projects under various monikers -- Megarbane continues to defy categorization, crafting what he calls 'Lebrary music': a borderless, Mediterranean-rooted fusion of library music, Afrobeat, hip-hop, and jazz. His ethos of spontaneity extends to his live performances, where he and his band reinterpret songs anew with each show. In 2024, he toured extensively, often sharing the stage with fellow Habibi Funk collaborator Rogér Fakhr. Through Hawalat, Megarbane reaffirms his place as a global musical storyteller, allowing influences and traditions to cross borders and meet fluidity and spontaneity."

$18.00 IN STOCK

"Habibi Funk is excited to announce the release of Samh Almea'ad, a new 7" record with booklet by Libyan artist Cheb Bakr. Recorded in the early 2000s, Bakr's music fuses the pulse of Libyan pop with R&B and hip-hop influences, bringing the energy of Benghazi to the dance floors of New York in the early 2000s. Cheb Bakr's sound is a unique blend of styles that captures the essence of two worlds and includes production and vocals by Ahmed Ben Ali. This 45 marks the beginning of the label's work with Cheb Bakr, offering a glimpse into his unique musical style, with a full album to follow at a later date. The release includes two standout tracks that showcase Bakr's dynamic range. Side A features 'Samh Almea'ad,' a reinterpretation of a 2003 New York classic with Bakr's signature spin. Side B, produced by Ahmed Ben Ali, features 'Rjana Lamta,' a track that hints at American influences alongside a nod to Ahmed's 'Dameek Majeb.' Bakr's artistry ties these contrasting elements into an original, dancefloor-ready track that remains as captivating today as it was two decades ago. As always, this 7" release comes with a booklet detailing some of the Cheb Bakr story."

$16.00 IN STOCK

"East of Any Place, out via Habibi Funk, is a treasure trove of songs the label came across alongside Rogér Fakhr's acclaimed 2021 album, Fine Anyway. These tracks, hidden for decades and only passed between a handful of people, offer a glimpse into Rogér's musical genius and the vibrant scene of Lebanon during a period marked by civil war and social upheaval. This release serves as a companion to Fine Anyway, featuring studio tracks that didn't make it into the previous album. In the process of putting together Fine Anyway Habibi Funk came across a number of other songs Rogér had recorded around the same time. Initially Rogér was not too fond of them for one reason or another, though the musical quality was not the reason. It was a treasure trove of songs that only a handful of people had access to. Some time ago, Rogér started working on some new songs that will hopefully will turn into a new album, and while the label spoke about these, Habibi Funk brought up all these other songs it still had from the same sessions as Fine Anyway, and that it felt it would be great to share them with the world as a bonus to the songs already shared as part of Fine Anyway. Luckily, Rogér eventually agreed, and this is how Habibi Funk is able to share East of Any Place. As always, both vinyl and CD come with an extensive booklet featuring background and interviews with Rogér, including unseen photos, scans and more."

$26.00 NOT IN STOCK

2024 restock; LP version. "East of Any Place, out via Habibi Funk, is a treasure trove of songs the label came across alongside Rogér Fakhr's acclaimed 2021 album, Fine Anyway. These tracks, hidden for decades and only passed between a handful of people, offer a glimpse into Rogér's musical genius and the vibrant scene of Lebanon during a period marked by civil war and social upheaval. This release serves as a companion to Fine Anyway, featuring studio tracks that didn't make it into the previous album. In the process of putting together Fine Anyway Habibi Funk came across a number of other songs Rogér had recorded around the same time. Initially Rogér was not too fond of them for one reason or another, though the musical quality was not the reason. It was a treasure trove of songs that only a handful of people had access to. Some time ago, Rogér started working on some new songs that will hopefully will turn into a new album, and while the label spoke about these, Habibi Funk brought up all these other songs it still had from the same sessions as Fine Anyway, and that it felt it would be great to share them with the world as a bonus to the songs already shared as part of Fine Anyway. Luckily, Rogér eventually agreed, and this is how Habibi Funk is able to share East of Any Place. As always, both vinyl and CD come with an extensive booklet featuring background and interviews with Rogér, including unseen photos, scans and more."

$16.00 LOW STOCK LEVEL

"Habibi Funk is digging deep to present the songs of Ibrahim Hesnawi, otherwise known as 'The Father of Libyan Reggae.' Kingston meets Tripoli in this incendiary collection of Arabized roots, dub, dancehall and more. Featured on Habibi Funk's last compilation with his track 'Tendme,' Hesnawi crafts restless funk with evident buttressing from a reggae foundation. Highlighted across the LP is how Hesnawi essentially pioneered such an effortless synthesis between traditional Libyan music and Jamaican reggae stylings, plus the endlessly disparate funk, jazz, and disco accents which firmly situate Hesnawi in a league of his own."

$16.00 IN STOCK

"Habibi Funk is excited to share Marzipan - our first full length contemporary release courtesy of Beirut's multi-instrumental phenom Charif Megarbane, also known as the man behind prolific Cosmic Analog Ensemble. The LP is a journey into Charif's styling, one he terms 'Lebrary': a vision of Lebanon and Mediterranean expressed through the kaleidoscopic sonics of library music. Drawing from artists that encapsulates the HF sound, such as Ziad Rahbani, Ahmed Malek and Issam Hajali, Charif translates these influences into an LP that is equally at home in '23. Following his previous release of EP Tayara Warak in 2022, Marzipan is a sonic journey that seeks to capture the full scope of Megarbane's habitus. As a composer and producer, Megarbane touts hugely versatile, sometimes volatile musicianship -- his catalogue of projects (including legendary groups like the Cosmic Analog Ensemble, Free Association Syndicate, Monumental Detail, etc.) features a huge domain of sonic direction. This collection was previously developed in Megarbane's own Hisstology label which hosts a wealth of collaborative efforts. Now, Habibi Funk represents Megarbane under his own name. Megarbane finds a sonic through-line in his surrounding soundscapes as he draws on the chaotic energy of the crowded Beirut metropolis ('Souk El Ahad'), the warm atmosphere of the Lebanese countryside ('Chez Mounir'), or the lushness of a Mediterranean beach resort ('Portemilio'). Reflecting the aural composition of his direct surroundings into kaleidoscopic instrumentation provides a unique insight into how one musical phenomenon transposes sight into sound. Habibi Funk is thrilled to share Marzipan and finally throttle this under-the-radar phenomenon into the solo spotlight. Despite the magnitude of his catalog, Megarbane's LP sounds as fresh -- as resolutely inspired -- as a debut record. Marzipan continues down the winding path he trod on EP Tayyara Warak (released December, 2022) which features solid footing in the hectic city sounds Megarbane hears as home. Despite his obvious musical acumen, Megarbane's greatest talent seems to be his open ears. In many ways, Marzipan is a cartographic feat -- it travels and traces a journey across many dimensions (both sonic and physical). Megarbane's instrumental catalogue is vast: toy glockenspiel, harpsichord, pedal steel, a classic Wurlitzer, et al are used liberally on the record. The resultant sound is as sprawling as the musician's instrumental dexterity."

$28.00 NOT IN STOCK

LP version. "Habibi Funk is excited to share Marzipan - our first full length contemporary release courtesy of Beirut's multi-instrumental phenom Charif Megarbane, also known as the man behind prolific Cosmic Analog Ensemble. The LP is a journey into Charif's styling, one he terms 'Lebrary': a vision of Lebanon and Mediterranean expressed through the kaleidoscopic sonics of library music. Drawing from artists that encapsulates the HF sound, such as Ziad Rahbani, Ahmed Malek and Issam Hajali, Charif translates these influences into an LP that is equally at home in '23. Following his previous release of EP Tayara Warak in 2022, Marzipan is a sonic journey that seeks to capture the full scope of Megarbane's habitus. As a composer and producer, Megarbane touts hugely versatile, sometimes volatile musicianship -- his catalogue of projects (including legendary groups like the Cosmic Analog Ensemble, Free Association Syndicate, Monumental Detail, etc.) features a huge domain of sonic direction. This collection was previously developed in Megarbane's own Hisstology label which hosts a wealth of collaborative efforts. Now, Habibi Funk represents Megarbane under his own name. Megarbane finds a sonic through-line in his surrounding soundscapes as he draws on the chaotic energy of the crowded Beirut metropolis ('Souk El Ahad'), the warm atmosphere of the Lebanese countryside ('Chez Mounir'), or the lushness of a Mediterranean beach resort ('Portemilio'). Reflecting the aural composition of his direct surroundings into kaleidoscopic instrumentation provides a unique insight into how one musical phenomenon transposes sight into sound. Habibi Funk is thrilled to share Marzipan and finally throttle this under-the-radar phenomenon into the solo spotlight. Despite the magnitude of his catalog, Megarbane's LP sounds as fresh -- as resolutely inspired -- as a debut record. Marzipan continues down the winding path he trod on EP Tayyara Warak (released December, 2022) which features solid footing in the hectic city sounds Megarbane hears as home. Despite his obvious musical acumen, Megarbane's greatest talent seems to be his open ears. In many ways, Marzipan is a cartographic feat -- it travels and traces a journey across many dimensions (both sonic and physical). Megarbane's instrumental catalogue is vast: toy glockenspiel, harpsichord, pedal steel, a classic Wurlitzer, et al are used liberally on the record. The resultant sound is as sprawling as the musician's instrumental dexterity."

$16.00 IN STOCK

"Libyan Reggae at its peak grooves courtesy of Benghazi-born Ahmed Ben Ali. After working with Ahmed in 2020 on the 12" hit Subhana, Habibi Funk is back with a full-length release focusing on Ahmed's releases from the mid-2000s. The tracks on the LP represent a blisteringly deep collection of heavy reggae rhythms and synthesized grooves from a singular creative force, inspired as much from Jamaican sonics as from Libyan folkloric styles, as Ahmed says, 'it's the Libyan style, not some bullshit.' As always, both vinyl and CD come with an extensive booklet featuring background on Ahmed, including unseen photos, scans and more. Reggae in Libya has dominated the charts since its arrival in the 1970s and flourished with some of the pioneers of Libyan reggae such as Ibrahim Hesnawi, Najib Alhoush and The White Birds Band. Eventually we were able to connect with Ahmed and our work with him started with a 12-inch released with 'Subhana' on the A-side and 'Damek Majeb' on the B-side (track 4 on this release). After the release, he sent us some more songs, which we loved just as much. Soon after, the idea was born to follow up with a full-length release which Ahmed was happy to commit to. In early 2023, we met in person in Cairo to share a few more stories and to take some photos for the release, which you can find throughout the booklet accompanying the LP and CD. At his home studio, Ahmed operates as sound technician and producer, recording the music in addition to writing the lyrics -- a one-man musical squad. Contextualizing his own style, Ben Ali points out that, 'The Libyan folkloric rhythm is very similar to the reggae rhythm. So, if Libyan people listen to reggae, it's easy for them to relate because it sounds familiar. This is the main reason why reggae became so popular here. We played the reggae Libyan style, it's not the same as in Jamaica. We added our oriental notes to it and if you mix both it becomes something great.' With a bit of laughter, he adds that '... to me it's still original reggae, it's the Libyan style, not some bullshit.'"

$16.00 LOW STOCK LEVEL

"Blisteringly groovy collection of completely off-the-radar songs by Libyan composer/producer Najib Alhoush's group The Free Music, circa 1976. Releasing an astonishing ten albums, all impressively strong and equally infused by soul, funk, disco, and reggae, The Free Music created a distinctly infectious groove that unfortunately didn't make an impact outside of Libya due to the complex political situation at the time. There is a reason it says 'Part 1' in the title. Avid Habibi Funk listeners may be familiar with Libyan composer/producer Najib Alhoush, who's track 'Ya Aen Daly' -- the Bee Gee's 'Stayin Alive' cover -- was included in our second compilation. While the original track never excited us, Najib's version managed to strip it from its pop approach that had taken over disco during the genre`s peak. At that time, disco tracks mostly were aiming to appeal to the widest audience possible. Najib had turned the original track into something different and very unique. Upon further research we found that Najib was actually the singer and founder of The Free Music band alongside Fakhreddin, Salim Jibreel, Abdulrazzak 'Kit-Kat', Mukhtar Wanis and Mohameed Al Rakibi. Initially, we only licensed Najib Alhoush's "Ya Aen Daly" from Yousef Alhoush, Najib's son, who was pleased to hear that there was interest in his father's music form someone abroad. In the process of exchanging and learning about Najib's music and career, our understanding was that The Free Music only recorded the one album. This couldn't be further from the truth, in fact, there were ten albums produced by the group, all impressively coherent with a clear influence from disco, soul, funk and reggae. The Free Music album was probably the longest it ever took us to gather information, photos and musical source material in a good enough quality to be reissued. This is largely due to the complicated political situation in Libya, compounded by the fact that Libya is still largely cut off from international payment systems, so getting an advance payment to the right person can be a process that takes weeks. The same goes for getting master tapes to a studio abroad and afterwards back to Libya. When we look for music that works under the umbrella of Habibi Funk, we often come across albums where bands experimented with influences from soul, jazz, funk, disco and more, usually on a single track or two but then they often go down to a different path for the rest of the album. This was not the case for The Free Music. All their albums are fully dedicated to their unique blend of disco, reggae and funk and it feels that when we made the selection for this album, we could have chosen a completely different number of tracks and the album would be been equally strong."

$28.00 NOT IN STOCK

LP version. "Blisteringly groovy collection of completely off-the-radar songs by Libyan composer/producer Najib Alhoush's group The Free Music, circa 1976. Releasing an astonishing ten albums, all impressively strong and equally infused by soul, funk, disco, and reggae, The Free Music created a distinctly infectious groove that unfortunately didn't make an impact outside of Libya due to the complex political situation at the time. There is a reason it says 'Part 1' in the title. Avid Habibi Funk listeners may be familiar with Libyan composer/producer Najib Alhoush, who's track 'Ya Aen Daly' -- the Bee Gee's 'Stayin Alive' cover -- was included in our second compilation. While the original track never excited us, Najib's version managed to strip it from its pop approach that had taken over disco during the genre`s peak. At that time, disco tracks mostly were aiming to appeal to the widest audience possible. Najib had turned the original track into something different and very unique. Upon further research we found that Najib was actually the singer and founder of The Free Music band alongside Fakhreddin, Salim Jibreel, Abdulrazzak 'Kit-Kat', Mukhtar Wanis and Mohameed Al Rakibi. Initially, we only licensed Najib Alhoush's "Ya Aen Daly" from Yousef Alhoush, Najib's son, who was pleased to hear that there was interest in his father's music form someone abroad. In the process of exchanging and learning about Najib's music and career, our understanding was that The Free Music only recorded the one album. This couldn't be further from the truth, in fact, there were ten albums produced by the group, all impressively coherent with a clear influence from disco, soul, funk and reggae. The Free Music album was probably the longest it ever took us to gather information, photos and musical source material in a good enough quality to be reissued. This is largely due to the complicated political situation in Libya, compounded by the fact that Libya is still largely cut off from international payment systems, so getting an advance payment to the right person can be a process that takes weeks. The same goes for getting master tapes to a studio abroad and afterwards back to Libya. When we look for music that works under the umbrella of Habibi Funk, we often come across albums where bands experimented with influences from soul, jazz, funk, disco and more, usually on a single track or two but then they often go down to a different path for the rest of the album. This was not the case for The Free Music. All their albums are fully dedicated to their unique blend of disco, reggae and funk and it feels that when we made the selection for this album, we could have chosen a completely different number of tracks and the album would be been equally strong."

$16.00 IN STOCK

"Completely unknown album by Salah Ragab's Cairo Jazz Band vocalist Maha, recorded in Cairo in 1979. Features productions by Hany Shenoda of Al Massrieen. Maha's Orkos, originally released on cassette, is one of these standout musical diamonds that combines jazz and Egyptian vocal traditions with funk, Latin and soul. Maha's Orkos immediately catches your ear as a unique album. A strong and energetic voice, equally grounded in jazz as well as Egyptian vocal traditions, Maha sings over instrumentals that offer a wide palette of influences, sonically emblematic of the cultural changes that were occurring in the country. The album features rich compositions and productions by renown Egyptian musician Hany Shenoda, who's group, Al Massrieen, Habibi Funk worked with in 2017 (the release led to sync placements in Hulu's Ramy TV series). At the time of its release, however, the Orkos cassette quickly faded away among the growing number of releases populating the Egyptian musical soundscape. For more than 40 years, it sat in near obscurity before being given new life in the form of a properly licensed vinyl release. Habibi Funk and Disco Arabesquo are honored to play a part in sharing Maha's story. Below is a bit more context around the release as well as the campaign schedule. The arrival of the cassette brought a seismic shift in how music was produced and consumed around the world. Smaller bands and labels were able to release music without the logistical and financial barrier present in vinyl manufacturing. At the same time, in Egypt, a new crop of musicians and composers made their way into the scene, seeking to bring something fresh to what was perceived as the widely monophonic musical traditions of Egypt. Hany Shenoda, Mohamed Mounir, Magdy El Hossainy, Omar Korshid, Salah Ragab and Hamid El Shaeri are some names that come to mind. Many built their sounds combining their own musical upbringing with influences coming from the outside. The success of these projects varied widely, but for each there were numerous lesser-known bands and singers. Many of these often-short-lived projects would release their music on cassettes on tiny labels only to fade into the musical ether. Maha's Orkos" album fits this category. Put out in a small run of cassettes, it's fair to say that the singer's sole recording outing was not a financial success when it was originally released by Egyptian label Sout El Hob in 1979. While it may not have found an engaged and open-eared audience upon its release, the first few bars of the album indicate this is a special, timeless album that transcends the musical boundaries that many artists were seeking to break through at the time. From the funk sounds of 'Law Laffeina El Ard'; the moody, mellow sounds of 'Kabl Ma Nessallem We Nemshy' or 'We Mesheet;' to excursions into Latin sounds in the title track 'Orkos,' and disco with Ana Gaya the album is an amalgamation of genres that stands out from the immense creativity present in Egypt at the time..."

$28.00 NOT IN STOCK

LP version. "Completely unknown album by Salah Ragab's Cairo Jazz Band vocalist Maha, recorded in Cairo in 1979. Features productions by Hany Shenoda of Al Massrieen. Maha's Orkos, originally released on cassette, is one of these standout musical diamonds that combines jazz and Egyptian vocal traditions with funk, Latin and soul. Maha's Orkos immediately catches your ear as a unique album. A strong and energetic voice, equally grounded in jazz as well as Egyptian vocal traditions, Maha sings over instrumentals that offer a wide palette of influences, sonically emblematic of the cultural changes that were occurring in the country. The album features rich compositions and productions by renown Egyptian musician Hany Shenoda, who's group, Al Massrieen, Habibi Funk worked with in 2017 (the release led to sync placements in Hulu's Ramy TV series). At the time of its release, however, the Orkos cassette quickly faded away among the growing number of releases populating the Egyptian musical soundscape. For more than 40 years, it sat in near obscurity before being given new life in the form of a properly licensed vinyl release. Habibi Funk and Disco Arabesquo are honored to play a part in sharing Maha's story. Below is a bit more context around the release as well as the campaign schedule. The arrival of the cassette brought a seismic shift in how music was produced and consumed around the world. Smaller bands and labels were able to release music without the logistical and financial barrier present in vinyl manufacturing. At the same time, in Egypt, a new crop of musicians and composers made their way into the scene, seeking to bring something fresh to what was perceived as the widely monophonic musical traditions of Egypt. Hany Shenoda, Mohamed Mounir, Magdy El Hossainy, Omar Korshid, Salah Ragab and Hamid El Shaeri are some names that come to mind. Many built their sounds combining their own musical upbringing with influences coming from the outside. The success of these projects varied widely, but for each there were numerous lesser-known bands and singers. Many of these often-short-lived projects would release their music on cassettes on tiny labels only to fade into the musical ether. Maha's Orkos album fits this category. Put out in a small run of cassettes, it's fair to say that the singer's sole recording outing was not a financial success when it was originally released by Egyptian label Sout El Hob in 1979. While it may not have found an engaged and open-eared audience upon its release, the first few bars of the album indicate this is a special, timeless album that transcends the musical boundaries that many artists were seeking to break through at the time. From the funk sounds of 'Law Laffeina El Ard'; the moody, mellow sounds of 'Kabl Ma Nessallem We Nemshy' or 'We Mesheet;' to excursions into Latin sounds in the title track 'Orkos,' and disco with Ana Gaya the album is an amalgamation of genres that stands out from the immense creativity present in Egypt at the time..."

$16.00 LOW STOCK LEVEL

'An absolutely legendary album from Lebanon by Issam Hajali's group Ferkat Al Ard, Oghneya stands out as one of the great musical gems of the Arab world. A groundbreaking release from 1978 that represents the meeting point of Arab, jazz, folk and Brazilian styles with the talent of Ziad Rahbani, who did the albums arrangements. Filled with a variety of sounds and genres, from Baroque pop to psych-folk to flashes of bossa nova, Tropicalia and MPB, Oghneya is like if Arthur Verocai took a trip to Beirut in the '70s to record an album. In 2015 we heard Ferkat Al Ard's music for the first time, a Lebanese trio compromised of Issam Hajali, Toufic Farroukh and Elia Saba. It is a stunningly unique release that blends traditional Arabic elements, jazz and Brazilian rhythms hand in hand with poetic-yet-politically engaged lyrics. The band was active in the left-wing movement of Lebanon of the time and they communicated their political ideas candidly through their songwriting. As always both vinyl and CD come with an extensive booklet with an interview with Issam as well as unseen photos from the recording sessions."

$16.00 IN STOCK

"Full album dedicated to Hamid El Shaeri's work on the Egyptian SLAM! label. Hamid El Shaeri is the artist behind Habibi Funk's most popular song to date, 'Ayonha', originally re-released in 2017 on the first Habibi Funk Compilation. If you were to ask for a defining Habibi Funk track, there are a few that come to mind: from Fadoul's 'Sid Redad,' Dalton's 'Soul Brother' to Ahmed Malek's 'Omar Gatlato.' However, none are as widely connected with us at this point as Hamid Al Shaeri's 'Ayonha.' We heard the track for the first time when we were working on selecting tracks for your first compilation and we instantly loved it. We obviously had heard of Hamid El Shaeri's music before, but only material from his Al Jeel phase when he was already the full-blown superstar he is now. Listening to his releases from the early 1980's opened a whole new door for us. At the time, Hamid had just left Libya to pursue his career in Egypt via a detour in London, where he recorded his first album. Hamid's distinct sound of the sound is quintessentially reliant on heavy synths and so it was particularly important to purchase these synths in a timely manner. London also played an important role for Hamid as a musical epicenter. He fondly reminisces about the many live shows he attended there, including some of the biggest international musicians like Freddie Mercury and Michael Jackson. After returning to Cairo where he also recorded his following albums, he connected with SLAM! for the release of his debut, laying the foundation of a collaboration that lasted for five albums. Luckily, we were able to connect with Hamid through our friend Youssra El Hawary, whose extensive network has opened many doors for us within the Egyptian music scene . . . While he was down to assist with an interview and his blessing for the project he also told us that for any license we needed to speak with the original label SLAM! who released these songs, still held the rights and also remained in business over the decades though they didn't actively release any new music. Hany Sabet had started SLAM! Records in the early 1980s and focused on cassette tape releases, the format that expedited the success of a new generation of record labels in Egypt. By the mid 1980s, SLAM! had become one of the most successful and economically dominant record labels in Egypt, with Hamid El Shaeri being just one of their key artists, alongside Mohamed Mounir, Hanan, Hakim, Mustafa Amar and many more. Luckily, Hany Sabet turned out to be a friend of our colleague Malak Makar's father, which probably helped to warm him to the idea of licensing 'Ayonha' to this -- in the scale of his world -- tiny label from Germany. Eventually 'Ayonha' ended up becoming a widely successful release and either Hany or we brought up the idea of a full album dedicated to Hamid El Shaeri's work on SLAM!..."

$16.00 IN STOCK

"Habibi Funk presents a selection of works by Algerian-born, Amazigh artist Majid Soula. Majid's music blends the best of Arab-disco, highlife and groovy funk into something wholly unique. Born in Kabylie, Algeria -- a place that remains fundamental to his career -- Majid Soula is a self-made musician, artist and producer. With no formal music education, Majid's tenacity has led to a career that is still blossoming. His synths, driving drums, guitar & strong lyrics make a unique sound. A strong proponent for the rights of the Amazigh, he has a band that to this day plays shows, most linked to cultural events of the Amazigh diaspora in France, as well as in Belgium, Russia the UK and Sweden. He was part of a new wave of widely popular and successful Kabyle artists in the 1980s, such as Ait Menguellet, Lounès Matoub, Takfarinas, Idir and many more. Habibi Funk as a label is dedicated to re-releasing music from 'The Arab World', but this release shows how reductive this term can be, as the countries from North Africa and West Asia being summarized under this term include a vast number of languages and identities. Obviously, headlines sometimes come with limited space, and one can't avoid using terms that paint a half-finished picture. That being the case, however, we are even happier that Majid Soula liked our idea to work on a release of a selection of his music with us. The tracks here are incredible and need to be introduced to a new generation of listeners. For Majid Soula music is more than just entertainment. He considers himself an activist through music, and foremost a 'chanteur engagé', as he says of himself: 'I take my inspiration from the daily life of my people and I share all their aspirations, mainly the official recognition of Tamazight as a language, culture and identity.' He still works on new music in his small home studio in Belleville and occasionally plays concerts for the Amazigh community of the city. We sincerely hope that for you reading this and listening to Majid's album, his music will have the same revelatory feeling it had on us, and that this will be part of a momentum that will allow Majid to keep on working, playing, and sharing his message for many years to come."

$28.00 NOT IN STOCK

LP version. "Habibi Funk presents a selection of works by Algerian-born, Amazigh artist Majid Soula. Majid's music blends the best of Arab-disco, highlife and groovy funk into something wholly unique. Born in Kabylie, Algeria -- a place that remains fundamental to his career -- Majid Soula is a self-made musician, artist and producer. With no formal music education, Majid's tenacity has led to a career that is still blossoming. His synths, driving drums, guitar & strong lyrics make a unique sound. A strong proponent for the rights of the Amazigh, he has a band that to this day plays shows, most linked to cultural events of the Amazigh diaspora in France, as well as in Belgium, Russia the UK and Sweden. He was part of a new wave of widely popular and successful Kabyle artists in the 1980s, such as Ait Menguellet, Lounès Matoub, Takfarinas, Idir and many more. Habibi Funk as a label is dedicated to re-releasing music from 'The Arab World', but this release shows how reductive this term can be, as the countries from North Africa and West Asia being summarized under this term include a vast number of languages and identities. Obviously, headlines sometimes come with limited space, and one can't avoid using terms that paint a half-finished picture. That being the case, however, we are even happier that Majid Soula liked our idea to work on a release of a selection of his music with us. The tracks here are incredible and need to be introduced to a new generation of listeners. For Majid Soula music is more than just entertainment. He considers himself an activist through music, and foremost a 'chanteur engagé', as he says of himself: 'I take my inspiration from the daily life of my people and I share all their aspirations, mainly the official recognition of Tamazight as a language, culture and identity.' He still works on new music in his small home studio in Belleville and occasionally plays concerts for the Amazigh community of the city. We sincerely hope that for you reading this and listening to Majid's album, his music will have the same revelatory feeling it had on us, and that this will be part of a momentum that will allow Majid to keep on working, playing, and sharing his message for many years to come."

$26.00 NOT IN STOCK

2024 limited restock; LP version. "Beautiful mélange of folk, jazz and sound from Lebanon. Recorded in late 1970s Beirut by Rogér Fakhr who at the time also played guitar for Ziad Rahbani and Fairouz. Rogér Fakhr is a musician from Lebanon. He recorded these songs in the late 1970s in Beirut (and some during a brief exile in Paris). Some were circulated on hand copied cassettes among friends, others like Had To Come Back Wet were never released. His music effortlessly combines folk with touches of jazz and soul. He wrote, composed and arranged all songs. While working on his own music he also played for Ziad Rahbani, Fairouz and other musicians. When we first heard Roger's music we were blown away! The music was a mixture of folk with touches of other genres. Maybe one could also refer to it as 'singer-songwriter', since all of the songs were Roger's own compositions. Songs of unique beauty both musically as well as lyrically. At the same time they gave me the feeling of them being somehow time and space isolated capsules. Nothing really revealed, where they could've been recorded and without knowing it was Beirut, my first guess maybe would have rather been California, sometime in the 1970s. The immersive effect of his compositions and voice are just incredible. I was stunned and proposed Roger to work on a re-release, which he politely declined, saying he had no interest in this music being reissued."

$16.00 LOW STOCK LEVEL

"We're super happy to announce our 13th release by Sharhabil Ahmed, the actual King of Sudanese Jazz (he actually won that title in a competition in the early 1970s). Sonically it sounds very different from what Jazz is understood to sound like outside of Sudan. It's an incredible unique mix of rock'n'roll, funk, surf, traditional Sudanese music and influences from Congolese sounds. Original copies of Sharhabil recordings are often hard to find, so we're happy they will now be widely available. 'Argos Farfish' which was featured on our last comp amassed close to 400,000 plays already. Sharhabil was born in 1935 and he is the founding father of the Sudanese Jazz scene. His aim was to modernize Sudanese music by bringing it together with western influences and instrumentation like he summarized it himself in a 2004 interview for 'Al Ahram Weekly': '[...]Haqiba music, you know, was traditional vocal music with little accompaniment beyond a tambourine. When our generation came in the 1960s, we came with a new style. It was a time of worldwide revolution in music. In Europe, the rhythms of swing and tango were being replaced by jazz, samba, rock- and-roll. We were influenced by this rejuvenation in Sudan, too. I started out by learning to play the oud and traditional Sudanese music, and got a diploma from the music institute of Khartoum University. But my ambition was to develop something new. For this, the guitar seemed like the best instrument. Western instruments can approximate the scales of Sudanese music very well. After all, a lot of Western music is originally from Africa. I have absorbed different influences, from traditional Sudanese rhythms to calypso and jazz, and I hold them together in my music with no difficulty.' Referring to its sonic appearance, Sudanese jazz hasn't too much in common with the western idea of jazz. Sharhabil's sound feels more like a unique combination of surf, rock n roll, funk, Congolese music and East African harmonies a.o. So, it kind of made sense to me, while visiting him in Sudan, to see the records he kept over the years: 2 of his own and 2 by Mulatu Astatke signed to him, further proving the influence of Ethiopian and other neighboring countries. In fact, Sharhabil was not just one of many Sudanese Jazz artist. He is the king of Jazz, literally, since in he won a competition over other artists for that title."

$26.00 NOT IN STOCK

2024 repress; LP version. "We're super happy to announce our 13th release by Sharhabil Ahmed, the actual King of Sudanese Jazz (he actually won that title in a competition in the early 1970s). Sonically it sounds very different from what Jazz is understood to sound like outside of Sudan. It's an incredible unique mix of rock'n'roll, funk, surf, traditional Sudanese music and influences from Congolese sounds. Original copies of Sharhabil recordings are often hard to find, so we're happy they will now be widely available. 'Argos Farfish' which was featured on our last comp amassed close to 400,000 plays already. Sharhabil was born in 1935 and he is the founding father of the Sudanese Jazz scene. His aim was to modernize Sudanese music by bringing it together with western influences and instrumentation like he summarized it himself in a 2004 interview for 'Al Ahram Weekly': '[...]Haqiba music, you know, was traditional vocal music with little accompaniment beyond a tambourine. When our generation came in the 1960s, we came with a new style. It was a time of worldwide revolution in music. In Europe, the rhythms of swing and tango were being replaced by jazz, samba, rock- and-roll. We were influenced by this rejuvenation in Sudan, too. I started out by learning to play the oud and traditional Sudanese music, and got a diploma from the music institute of Khartoum University. But my ambition was to develop something new. For this, the guitar seemed like the best instrument. Western instruments can approximate the scales of Sudanese music very well. After all, a lot of Western music is originally from Africa. I have absorbed different influences, from traditional Sudanese rhythms to calypso and jazz, and I hold them together in my music with no difficulty.' Referring to its sonic appearance, Sudanese jazz hasn't too much in common with the western idea of jazz. Sharhabil's sound feels more like a unique combination of surf, rock n roll, funk, Congolese music and East African harmonies a.o. So, it kind of made sense to me, while visiting him in Sudan, to see the records he kept over the years: 2 of his own and 2 by Mulatu Astatke signed to him, further proving the influence of Ethiopian and other neighboring countries. In fact, Sharhabil was not just one of many Sudanese Jazz artist. He is the king of Jazz, literally, since in he won a competition over other artists for that title."

$20.00 LOW STOCK LEVEL

"Reggae music from Libya, recorded in 2008. Released for the first time officially after collecting millions of plays on Youtube. Ahmed Ben Ali was born in 1971 in Benghazi. He went to boarding to school in Canada for 8 years, and returned to Libya. For a couple of years he also worked in the UK. Music was never his main job but his 'main hobby' as Ahmed says. Hhe recorded maybe 40 tracks and released two more albums. He also started playing gigs in Libya with his own band. In 2008 a friend of his decided to set up a youtube account for him by starting with two uploaded tracks. The account remained untouched since 11 years. At some points two of the tracks from this account started gaining traction. 'Sibhana', the infectious Libyan reggae, which you can also hear on this release and 'Damek Majeb', the second track on this 12 inch which is leaning more towards a clubby Arabic pop feel. The vinyl comes with a four page booklet and a DLL code."

$16.00 LOW STOCK LEVEL

"Habibi Funk is back with another album from Casablanca. Completely unreleased album which was recorded in Morocco in 1973 by three generation family band. A unique blend of Gnawa, Funk and Rock. Traditional Moroccan music meets electronic guitars and dense layers of percussion by a band that used to run in the same circles as Fadoul (And actually wrote one of his songs). Attarazat Addahabia & Faradjallah's album came to us as quite a mystery. Our friends from Radio Martiko got access to the studio archive of the Boussiphone label and a reel labeled 'Faradjallah' was among the items they had found there. After listening to the selection of reels they borrowed, Radio Martiko felt it was not a fit for their label and helped us licensing it from Mr. Boussiphone instead. We knew nothing about the band. We just had the reel with the music but very little information. What we knew was that the music was incredible and very unique. Gnawa sounds were combined with funky electronic guitars, very dense layers of percussions and female backing vocals more reminiscent of musical styles further south than Morocco. We started asking around whether anyone knew the band with no immediate success until we asked Tony Day, a musician from Morocco who helped us during our search for Fadoul's family. His sharp memory came through once again, remembering all the names of the Attarazat Addahabia band members and even how to contact the bands singer and leader Abdelakabir Faradjallah. After visiting him at his home in Casablanca with our Moroccan colleague Sabrina multiple times, he shared his personal story. His father arrived in Casablanca from Aqqa at the age of six and his mother came from Essaouira. Abdelakabir was born in the neighbourhood of Benjdia in 1942. Abdelakabir Faradjallah studied fine arts in Casablanca, graduating in 1962. He also played soccer in the second team of 'Jeunesse Societe One'. His brother-in-law Ibrahim Sadr worked for one of the biggest football teams of the time in Morocco called 'Moroco Sportive Union', which allowed him to travel to France occasionally. While Ibrahim was never part of the band he brought along a few instruments from trips. Yet the majority of the instruments they could not afford to buy were built by Faradjallah and Abderrazak, Faradjallah's brother who passed away early. For instance, they had built a Spanish guitar and a drum made of wood barrel and sheepskin by themselves. During the 1950s Faradjallah was booked as a singer for surprise parties with friends. He started to write his first songs including 'L'gnawi' in 1967 and wanted to make people discover Gnawa culture, or maybe rather his take on the culture to be more exact. Faradjallah recalls his first interaction with the genre in the streets of the Dern neighbourhood, where he used to go to elementary school. Gnawa is one of the essential musical genres of Morocco. It combines ritual poetry with traditional dances and music linked with a spiritual foundation. Musically a lot of influences originated from West Africa as well as Sudan. Gnawa is usually played by a selection of specific instruments such as the qaraqab (large iron castanets centrally associated with the music), the hajhouj (a three-string lute), guembri loudaâ (a three stringed bass instrument) and the tbel (large drums). People would put shells on their clothes and instruments and use incense at their parties. 'Sidi darbo lalla - lala derbo khadem...' came from Gnawa verses Faradjallah used to sing when he was 14. The lyrics tackle a global (im)balance of power and the question of social status in this course. The band Attarazat Addahabia was formed in 1968. The original line-up included 14 members, all from the same family. They played their first small concerts here and there starting in 1969. Later in 1973 they performed bigger shows for instance at the Municipal Theatre followed by the 'Al Massira Show' at Velodrome Stadium in downtown Casablanca. Their first album Al Hadaoui was recorded at Boussiphone studios in 1972 and was never released before. Nobody seems to remember the exact reason why Boussiphone ended up deciding not to put the album out. The album's title track also served as the basis for Fadoul's 'Maktoub Lah', who frequented the same circles as the band for some time. Their shows sometimes could go as long as 12 hours, starting at 5pm in the afternoon, with an occasional break here and there. In the 1980s the band took a brief break. Faradjallah recalled the reason for that break like this: 'Zaki, the bands drummer, had fallen in love with a young girl from Mohammedia. Soon after, he fell very ill. The group members were convinced that the girl had given him 's'hor' (a kind of local Moroccan version of 'black magic'). For four years, the whole group stopped playing. It was unthinkable to find another drummer to replace Zaki, even temporarily.' So they waited four years for Zaki to 'get back on his feet' before going back on stage. Apart from very few gigs here and there Faradjallah stopped playing music in the mid-1990s. Some members from the younger generations formed a new band and still play frequently to this day."

$31.00 NOT IN STOCK

2022 restock. Double LP version. "Songs about the unity of Sudan, peace between Muslims and Christians and the fate of war orphans, backed by grooves equally taking influence from Arabic sounds, American funk as well as neighboring Ethiopia. Kamal Keila was among the first artist we met in Sudan during our two trips to Khartoum and Omdurman last year. He is one of the key figures of the Sudanese jazz scene that was a vital part of the musical culture in Sudan from the mid-1960s until the Islamist revolution in the late 1980s. When we meet Kamal he luckily presented us with two mold covered studio reels. Each tape included five tracks. One with English lyrics and another with Arabic ones. Musically you can hear the influence of neighboring Ethiopia much more than on other Sudanese recordings of the time, as well as references to Fela and American funk and soul. His lyrics, at least when he sings in English which gave him more freedom from censorship, are very political. A brave statement in the political climate of Sudan of the last decades, preaching for the unity of Sudan, peace between Muslims and Christians and singing the blues about the fate of war orphans called 'Shmasha'. A note inside one of the boxes specified the track titles, durations and the fact that the sessions were recorded on the 12th of August 1992. Both sessions stand as a hearable testament how Kamal Keila stuck to a sound aesthetic from decades ago, while incorporating current events into his lyrics. Kamal Keila's album is the first in a series of releases covering the Sudanese jazz scene on Habibi Funk."

$16.00 LOW STOCK LEVEL

"Songs about the unity of Sudan, peace between Muslims and Christians and the fate of war orphans, backed by grooves equally taking influence from Arabic sounds, American funk as well as neighboring Ethiopia. Kamal Keila was among the first artist we met in Sudan during our two trips to Khartoum and Omdurman last year. He is one of the key figures of the Sudanese jazz scene that was a vital part of the musical culture in Sudan from the mid-1960s until the Islamist revolution in the late 1980s. When we meet Kamal he luckily presented us with two mold covered studio reels. Each tape included five tracks. One with English lyrics and another with Arabic ones. Musically you can hear the influence of neighboring Ethiopia much more than on other Sudanese recordings of the time, as well as references to Fela and American funk and soul. His lyrics, at least when he sings in English which gave him more freedom from censorship, are very political. A brave statement in the political climate of Sudan of the last decades, preaching for the unity of Sudan, peace between Muslims and Christians and singing the blues about the fate of war orphans called 'Shmasha'. A note inside one of the boxes specified the track titles, durations and the fact that the sessions were recorded on the 12th of August 1992. Both sessions stand as a hearable testament how Kamal Keila stuck to a sound aesthetic from decades ago, while incorporating current events into his lyrics. Kamal Keila's album is the first in a series of releases covering the Sudanese jazz scene on Habibi Funk. Be on the lookout for albums by The Scorpions and Sharhabeel coming soon."

$16.00 LOW STOCK LEVEL

"Habibi Funk is dedicated to re-releasing a style of music that historically never existed as a musical genre. We use the term to describe a certain sound that we like from the countries of the Arab world. The songs we chose were created in places quite far from another and under very different circumstances. Some were written and recorded during war times, others in exile. Despite the differences we think there is a musical connection between them. Essentially, we are interested in the musical endeavors, in which artists from the Arab world mixed local and regional influences with musical interests that came from outside of the region. Even though the name suggests it's all about funk music, our focus is more than just that. Often these influences might be inspired from Western popular music such as soul, pop and rock but it's not limited to that either. Some of our favorite records are best described as Arabic zouk (a genre originating from the Caribbean islands of Martinique and Guadeloupe) like Mallek Mohamed's music, Algerian coladera (a popular musical style from the Cape Verdean islands) or Lebanese AOR, which means the process of musical influences displayed on this compilation was much more versatile than just taking Western music as a blueprint and translating it with a local accent. The compilation features 15 different artists. Some you might already know thru Habibi Funk's releases like Fadoul, Ahmed Malek, Dalton or Al Massrieen, while others are meant as an introduction to artists like Kamal Keila, Sharhabeel Ahmed, Attarazat Addahabia & Mallek Mohamed who will all release full length albums on Habibi Funk in 2018. In today's world there are still many stereotypical conceptions to be found when it comes to the Arab world. Contrary to what a lot of Western narratives and media suggest, the Arab world we got to know through extensive traveling in several countries of North Africa and the Middle East, is a very versatile terrain. A place full of different stories, ideas and beliefs. And we hope that the music we release helps as a tiny, tiny piece of a larger puzzle to establish a diverse, more nuanced yet adequate idea of how musically vibrant this very diverse region once has been and also still is. At the same time we do not want anyone to misunderstand this compilation as a selection of songs to represent Arabic musical history of the 1970s and 1980s. This compilation is nothing more than a very personal curation of songs we like and in no way reflects on what has been popular in a general sense. All tracks on this compilation are directly licensed from the artist or, in the case of artists who are sadly no longer alive, from the artist's family. There are three exceptions: Hamid Al Shaeri's track was licensed from SLAM! and the tracks from Belbao and Attarazat Addahabia were both licensed from Boussiphone. As a European label dealing with non-western artists we try to be aware of the responsibilities that derive within the making, seen from a post-colonial point of view by demanding ourselves not to reproduce exploitative economic patterns. We split all of the profits from our releases equally with the artists without deducting any costs that are not directly related to the release .Our agreements are license deals with limited terms after which the rights fall back to the artist or the artist's families. We think it is important in today's reissue market, where too many shady business transactions happen, to be transparent about our licensing policies." The CD version comes with a 24 page booklet with liner notes, info about all artist and releases.