{"title":"Habibi Funk Records","description":"","products":[{"product_id":"various-habibi-funk-an-eclectic-selection-of-music-from-the-arab-world-part-2-vinyl-2lp","title":"Various - Habibi Funk: An Eclectic Selection Of Music From The Arab World, Part 2 Vinyl 2LP","description":"\u003cp\u003eSecond compilation by Habibi Funk, following the success of the first part, featuring a wide range of music from North Africa and the Middle East. This compilation of songs is not meant as a historic reflection of popular music of the “Arab world.\"‚ It is a very personal selection of songs we grew to like at Habibi Funk. It is music that historically never existed as a unified musical genre. We think it's important to make this distinction and to have the listener understand that the majority of the music on this compilation does not come from the highly famous names of the musical spectrum of North Africa and the Middle East. Instead, the final body compiled for this record consists of some , at least for us , nichey pearls and often overlooked artists; resulting in a diverse range of styles from Egyptian organ funk, disco sounds from Morocco, an example of the lively reggae scene of Libya, political songs from Lebanon, soundtrack music from Alge- ria, a musical union between Kenya and Oman, and much more. The photo we chose for this cover somehow could be seen as an allegory of the sounds we feature on the label. It depicts Algerian composer Ahmed Malek at an ice cream bar during his stay in Japan for the World Expo in Osaka, 1970. He later said that his visit to Japan and especially the manga culture left a distinctive mark on the way he created his own compositions. With this in mind, it feels as a suiting visual representation for the music on this compilation. Accordingly, the compilation you are holding in your hands offers a much wider range of music than just funk influenced sounds. Sure, it brings back Fadoul, who we have already dedicated a full length album to. He was the mystical Moroccan singer who - influenced by the sounds of James Brown- created his own musical vision full of energy but also still very intimate. Another artist we have featured before is Ahmed Malek, the grand Algerian soundtrack composer, whose music is largely connected by a distinct feeling of melancholic beauty or Hamid Al Shaeri, the Egyptian hit producer whose track “Ayonha\"‚ was probably the most widely appre-ciated track off our first compilation. But we have also learned that this format of a compilation can serve as a medium to introduce artists to our audience, who we are planning to dedicate full length releases to in the near future, such as Ibrahim Hesnawi. Hesnawi is the father of reggae music in Libya - a genre still widely popular in Libya - and whose presence in the country is commonly connected to the rhyth- mic similarities of reggae with some form of Libyan folkloric music. Nahib Alhoush is another Libyan artist, whose musical output we will spotlight in the near future. In the 1970s, he was the co-founder of Free Music, one of the first Libyan bands introducing western influences into their music. After the band stopped performing together he started an at least equally successful solo career under his own name. When I got into Arabic music around five or six years ago, I knew pretty much nothing about it. Realistically, I still know very, very little about it and I'm by no means an expert. I just had the opportunity to visit the region frequently, trying to learn about music I might like. Most of the bands, I happen to enjoy, were fairly obscure and therefore a lot of the music on this compilation seems to be largely forgotten. After sharing many of the old records and tapes online through mixes, I have realized that there is a huge disparity between the interest in the music on the one hand and its availability on the other. All tracks on this compilation are fully licensed, most directly from the artist or in the case of artists, who are deceased licensed from the artist's family. There are two exceptions: Hamid Al Shaeri's track was licensed from SLAM! as the label is still active under the name Sonar. Zohra's “Badala Zamana\"‚ from the great Belgian label MTMU, who has reissued this track under license from the producer on 7\"‚ format before. As a European label dealing with non-western artists we try to be aware of the responsibilities that derive within the making, regarded from a post-colonial point of view by demanding on 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 (e.g. we pay for our research to find an artist as well as all travel costs from our share of the profit). Our agreements are licensed deals with limited terms after which the rights fall back to the artist or the artist's family. The master rights stay with the artists, we just license them.\u003c\/p\u003e","brand":"Finer Sounds","offers":[{"title":"Default Title","offer_id":51876025434428,"sku":"FSLP-381","price":38.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0923\/5320\/0444\/files\/HAB_20015_20VA_20Habibi_20Funk_An_20Eclectic_20Selection_20From_20The_20Arab_20World_20Part_202_20CD_20LP_1a764bae-671a-4f0a-bdef-4e888e8f2e29.jpg?v=1751896931"},{"product_id":"various-habibi-funk-an-eclectic-selection-of-music-from-the-arab-world-vinyl-2lp","title":"Various - Habibi Funk (An Eclectic Selection Of Music From The Arab World) Vinyl 2LP","description":"\u003cp\u003eHabibi Funk: An eclectic mix of music from the Arab world. 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 \u0026amp;' 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. The double vinyl will have a 12 page booklet in 12\" size with the same content.\u003c\/p\u003e","brand":"Finer Sounds","offers":[{"title":"Default Title","offer_id":51876025729340,"sku":"FSLP-383","price":36.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0923\/5320\/0444\/files\/HAB_20007_20VA_20Habibi_20Funk_20CD_20LP_8be268f8-9b67-42cd-8e40-8617c717c8b8.jpg?v=1751896930"},{"product_id":"charif-megarbane-habibi-funk-030-hawalat-vinyl-lp","title":"Charif Megarbane - Habibi Funk 030: Hawalat Vinyl LP","description":"\u003cp\u003eTaking inspiration from hawala, the informal system of money transfers used in countries with unstable economies, Megarbane reimagines the concept 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.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRecorded across multiple locations—from Beirut to Brooklyn, Stockholm to a rural French commune—the album’s sonic journey mirrors its thematic premise. Musically, Hawalat traverses a rich array of textures and temperaments. The opener, Hanadi, is a percussive, Somali-inspired groove with wordless vocals and soaring saxophone lines. Tracks like Al Dollarji and Al Bahriye capture 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, transforms Megarbane’s guitar into a kora-like instrument, reflecting his commitment to experimentation.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFollowing Marzipan (2023), which turned inward to explore the heart of Lebanon, Hawalat expands outward, engaging with themes of diaspora, exile, and artistic migration. “As much as Marzipan was a portrait of Lebanon from the inside, Hawalat picks up where it left off,” Megarbane explains. The album avoids nostalgic recreations of the past, instead situating itself firmly in the present with a sound that is both timeless and contemporary. Through Hawalat, Megarbane reaffirms his place as a global musical storyteller, allowing influences and traditions to cross borders with fluidity and spontaneity.\u003c\/p\u003e","brand":"Finer Sounds","offers":[{"title":"Default Title","offer_id":52443393720636,"sku":"FSLP-1279","price":28.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0923\/5320\/0444\/files\/a3034887417_0.jpg?v=1763062743"},{"product_id":"ara-kekedjian-habibi-funk-033-bourj-hammoud-groove-vinyl-lp","title":"Ara Kekedjian - Habibi Funk 033: Bourj Hammoud Groove Vinyl LP","description":"\u003cp\u003eBourj Hammoud Groove is a reissue compilation celebrating the music of Ara Kekedjian, an Armenian-Lebanese musician who helped shape Beirut's Estradayin pop sound. His songs fuse disco, synth-pop, and Armenian melodic traditions into a timeless groove. The compilation is named after Bourj Hammoud, a Beirut neighborhood that became the cultural hub for the Armenian community. This 12\" vinyl edition comes with an extensive booklet featuring detailed liner notes by Darone Sassounian, chronicling Ara's life and music, alongside rare and exclusive photographs from the archives. True to Habibi Funk's archival ethos, the release combines rediscovery with cultural preservation.\u003c\/p\u003e","brand":"Finer Sounds","offers":[{"title":"Default Title","offer_id":52513365033276,"sku":"FSLP-1375","price":29.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0923\/5320\/0444\/files\/a3296700033_0.jpg?v=1764350633"},{"product_id":"various-habibi-funk-031-a-selection-of-music-from-libyan-tapes-vinyl-2lp","title":"Various - Habibi Funk 031: A Selection Of Music From Libyan Tapes Vinyl 2LP","description":"\u003cp\u003eThis compilation isn't a sweeping history of Libyan music - it's a personal journey into the sounds we fell in love with while digging through tapes, conversations, and stories across Libya and beyond. Rather than spotlighting the country's most famous musical exports, the compilation brings forward a mix of overlooked gems and local classics of the cassette era: artists whose work thrived despite political limitations, and scarce international exposure. The music featured here blends reggae rhythms, synthy disco grooves, gritty pop, house, and funk, a vibrant collision of genres that reflects Libya's unique sonic landscape from the 1980s to the early 2000s. During this era, Independent artists relied on makeshift home studios or travelled abroad to record in Tunisia and Egypt, gradually building their own infrastructures for creativity. By the 90s and early 2000s, as access to digital equipment increased, a few of the artists began setting up their own studios - a shift that gave rise to a more self-sufficient recording culture across the country. The resulting sounds are anything but homogeneous. They reflect Libya's geographic and cultural crossroads: North African rhythms meet Arab melodies and deep African roots. Reggae, in particular, took on a local Libyan flavour - not just musically, through the slowed-down cadence of traditional shaabi beats, but socially, as a vehicle for expressing identity and pride. What ties all the artists on this comp together is a boundary-pushing approach to genre and style: recorded in small studios, exchanged by hand, and shaped by a cross-pollination of influences, from Benghazi to Tripoli and beyond.\u003c\/p\u003e","brand":"Finer Sounds","offers":[{"title":"Default Title","offer_id":52513365098812,"sku":"FSLP-1376","price":39.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0923\/5320\/0444\/files\/a0933768371_0.jpg?v=1764350634"},{"product_id":"ibrahim-hesnawi-habibi-funk-024-the-father-of-libyan-reggae-vinyl-lp","title":"Ibrahim Hesnawi - Habibi Funk 024: The Father of Libyan Reggae Vinyl LP","description":"\u003cp\u003eHabibi 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 (HABIBI015) 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. LP out everywhere October 6th. Tracklist 1. Never Understand 2. Tendme 3. Only World Ft. Suzan 4. Kesati 5. Tayr Al Salama 6. Al Hob Wal Salam 7. Fouhi Ya Nesma 8. Enti 9. Watany Al Kabir Some years ago, we started a Facebook group named after our label \"Habibi Funk\" with the idea to create a space where everyone could share music they felt fit under this umbrella, one way or another. One day a Greek member, Thanasis Moutsopoulos, shared a photo of a vinyl record he found at the Monastiraki flea market in Athens, Greece. It was by a Libyan artist named Ibrahim Hesnawi and called \"Hesnawi And Peace. \" At this point we had never heard of the artist and Thanasis was nice enough to record the album for us. We were immediately electrified by what we heard: A whole album full of classic reggae with some light touches of funk and disco here and there which Hesnawi had recorded in Italy more than 4 decades prior. We eventually decided we would love to learn more about reggae in Libya, and a mutual friend introduced us to Ahmed Abujazia, who was born and still living in Tripolis; through a shared appreciation of music, he agreed to help us work on the project. We asked around and eventually managed to get Ibrahim Hesnawi's telephone number. A few weeks later, Ahmed met Ibrahim in person and proposed our project. Hesnawi was happy to work on a re release of his music with us. Excited to share the story of his musical career, Hesnawi was apt to point us towards songs he felt like would be a great match for the tracks we had already expressed interest in. All of this happened in 2018, which was also when the licensing agreement was signed. It has taken us 5 years to actually bring the project to the world, mainly because of the challenge of finding tapes in good enough quality to release. Sadly, Ibrahim Hesnawi lost his studio reel tapes at some point and the digital files he had of his music were of poor quality. So, we spend years trying to find every Hesnawi tape we could get our hands on in order to find a copy that would suffice in terms of sound quality to be used as a source for remastering. Eventually, we had 5-6 copies of some albums, just to identify the ones that sounded the best. We've finally been able to find enough songs in great sound quality that has allowed us to create a selection that both we and Ibrahim were happy with. Now, we're able to share the story of the father of reggae in Libya with the sound quality his work deserves. In many countries, reggae was a widespread fad before it's popularity gradually subsided. In Libya, however, the genre remained popular since it's initial introduction in the late 1970s. Reggae's thematic throughlines like references to Pan-Africanism, liberation, and the end of oppression and exploitation resonated-and continues to resonate-forcefully amongst a Libyan audience. To this day, you will find countless bands playing variations of the genre as are there Facebook groups with predominantly Libyan members sharing old and new reggae tracks with ten-thousands of members. And no matter who you ask, chances are high that the genre's popularity in Libya will be largely attributed to one man: Ibrahim Hesnawi. Born and raised in Tripolis, the capital of Libya, Hesnawi was not initially interested in music. However, he credits Bob Marley, the universal face of the reggae genre, with changing his mind. Bob Marley was the artist that brought Reggae to Libya. And the two disparate musical cultures-Jamaican and Libyan-weren't so far apart. On the contrary: local musicians intertwined these influences quite fluidly. Libyan reggae borrows elements from it's own culture, and is usually accompanied by a steady marching tempo, a significant hallmark of wedding chants. An effortless synthesis of Jamaican reggae and traditional Libyan sonics is featured throughout Hesnawi's catalogue. What better example of this audio amalgam than the LP's powerhouse lead single \"Never Understand\" which brings a roots and dancehall flavor into conversation with North African and Middle Eastern musical rhythms and Jamaican stylings. With warm keys, a thick, bouncing bass and English lyrics to boot, the track sounds like a missing Bob Marley cut. Fiery funk tracks \"Tendme\" (featured on HF015) and second single \"Watery Al Kabir\" bring a tireless groove to the record via chugging rhythms and key interludes that deliver searing harmonic motifs. Focus track \"Only World\" grounds the LP, placing an emphasis on it's anthemic lyricism and subtle, yet slick guitar licks and synth runs that make Libya seem like the \"only world\" where Reggae continues to stand strong.\u003c\/p\u003e","brand":"Finer Sounds","offers":[{"title":"Default Title","offer_id":52513365262652,"sku":"FSLP-1377","price":28.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0923\/5320\/0444\/files\/a2761907669_0.jpg?v=1764350635"},{"product_id":"charif-megarbane-habibi-funk-023-marzipan-vinyl-lp","title":"Charif Megarbane - Habibi Funk 023: Marzipan Vinyl LP","description":"\u003cp\u003eCharif Megarbane, the staggeringly prolific producer, instrumentalist, and all-around musical mastermind returns with full LP \"Marzipan.\" 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 100+ 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-theradar phenomenon into the solo spotlight. Despite the entire record being a sincere testament to Megarbane's environmental approach to music-making, the record is not bound to any particular coordinates, or any particular sound for that matter. The vastness of his influences - beloved artists like Ahmed Malek and Issam Hajali (both Habibi Funk veterans); West African funk deep cuts; European cinematic scores; et al - result in a record of somewhat unparalleled expansiveness. Floating melodies and frantic rhythmic interludes both find natural homes across \"Marzipan.\" The record is tinged with psychedelic elements-fuzz-drenched guitar, sliding microtonal interludes, hypnotic rhythmic breakdowns.\u003c\/p\u003e","brand":"Finer Sounds","offers":[{"title":"Default Title","offer_id":52513365328188,"sku":"FSLP-1378","price":28.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0923\/5320\/0444\/files\/a2839615640_0.jpg?v=1764350636"},{"product_id":"sharhabil-ahmed-habibi-funk-013-the-king-of-sudanese-jazz-vinyl-lp","title":"Sharhabil Ahmed - Habibi Funk 013: The King Of Sudanese Jazz Vinyl LP","description":"\u003cp\u003eSharhabil 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 it's sonic apperance, 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 competion over other artists for that title. The release comes with a booklet including liner notes, interview and unseen photos (12 pages vinyl). Fully licensed from the artist.\u003c\/p\u003e","brand":"Finer Sounds","offers":[{"title":"Default Title","offer_id":52513365393724,"sku":"FSLP-1379","price":27.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0923\/5320\/0444\/files\/a3893589837_0.jpg?v=1764350637"},{"product_id":"issam-hajali-habibi-funk-010-mouasalat-ila-jacad-el-ard-vinyl-lp","title":"Issam Hajali - Habibi Funk 010: Mouasalat Ila Jacad El Ard Vinyl LP","description":"\u003cp\u003eThe completely unknown debut album of Issam Hajali (Ferkat Al Ard) fuses jazz and folk with Arabic and Iranian influences into unique beauty. Originally released in a limited run of 75 cassette tape copies.\u003cbr\u003e\nIssam Hajali might be most known for being the singer and main composer of the Lebanese band Ferkat Al Ard. While they recorded 3 albums only their classic „Oghneya“ release saw a vinyl release and is probably the most in demand record in the Lebanese record collector scene (A copy changed hands in Beirut this year for 5000$). Before the band came together Issam recorded a debut album called \"Mouasalat Ila Jacad El Ard\" in 1977 in Paris, most likely in May or June. Issam Hajali had to leave Lebanon after the Syrian intervention for political reasons and spent one year in exile in France. At this time he could only afford one studio day to record the whole project together with a band compromised of some musicians from France, one from Algeria, one from Iran and a friend from Beirut called Roger Fahr, whom had left Lebanon around the same time. While you can hear the musical roots of what later became Ferkat Al Ard in \"Mouasalat Ila Jacad El Ard\", the album also differs from Issam’s later recordings. \"It’s more of just me, whereas the sound of the band was more of a group effort\", he recalls. Melancholic stripped-down, guitar-based folk is followed by jazz-fused breaks and every here and there that unique sound of the santour glistening through. While the music is very accessible, some song structures are rather atypical neglecting the common patterns of verse, hook, verse, hook. The lyrics mostly trace back to the poetic work of Palestinian author Samih El Kasem with one song also written by Issam, who composed the music for all of them. In late 1977 Issam could return to Beirut and took the not yet released album back with him. He could only afford to spend a short time in the studio, just to add little bits and pieces like percussion to finish an album that still felt unfinished to him. Even back in Beirut his economic situation was complicated, and it was impossible to find a label which was still operating under the circumstances of war. So, he started dubbing the tapes himself and producing black and white copies at the corner store. Most of the copies of the album were sold or given to friends. One record shop had them on the shelves on a commission basis. But as the shop owner was no fan of the music, she did little to sell them, hiding the tapes behind other releases. Eventually one of those tapes fell into the hands of Ziad Rahbani, Fairuz's son and a Lebanese musical institution in his own right. Ziad liked the music a lot and used to play on most of Ferkat Al Ard’s releases. And Issam also played on some of Ziad’s recordings and sessions. Nevertheless, the album was never known outside a very small scene of like-minded individuals and musicians of late 1970s Beirut. Issam is fairly certain that less than 100 copies of the tape were made back then in total and he only managed to hang onto one copy himself, from which this recording was made.\u003c\/p\u003e","brand":"Finer Sounds","offers":[{"title":"Default Title","offer_id":52522414473532,"sku":"FSLP-1386","price":27.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0923\/5320\/0444\/files\/a2211298012_499.webp?v=1764700107"},{"product_id":"maha-habibi-funk-020-orkos-vinyl-lp","title":"Maha - Habibi Funk 020: Orkos Vinyl LP","description":"\u003cp\u003eCompletely 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. Out via Habibi Funk October 10th.\u003c\/p\u003e\n\n\u003cp\u003eThe arrival of the cassette age was a turning point in the music industry all over the world. Manufacturing a vinyl record was a time-consuming process, as well logistically and financially a barrier of entry for many. This soon led to a proliferation of smaller acts and record labels dedicated to a particular sound without the barriers present in making vinyl.\u003c\/p\u003e\n\n\u003cp\u003eAt the same time, in Egypt in the 1970’s and early 1980’s, a new generation of musicians and composers made their way into the scene. Hany Shenoda, Mohamed Mounir, Magdy El Hossainy, Omar Korshid, Salah Ragab and Hamid El Shaeri are some names that come to mind. They all made very different music compared to one another but what connected them was their desire to add something fresh and new to what was perceived as the widely monophonic musical traditions of Egypt. Many built their sounds on a combination of their own musical upbringing with influences coming from the outside. The success of these projects varied but for each one of these artists there were numerous lesser-known bands and singers. A lot of these often-short-lived projects would release their music on cassette on tiny labels.\u003c\/p\u003e\n\n\u003cp\u003eMaha’s “Orkos” album fits this category, and it’s fair to say that it was not a success when it was originally released in 1979 by Sout El Hob. While nobody remembers the exact numbers, sales must have been very limited and the project was quickly forgotten about and no follow up release was produced.\u003c\/p\u003e\n\n\u003cp\u003eSome years ago, we had released “Al Massrieen,” music which is the passion project of their composer, Hany Shenoda. Most of the music of this band was released by the Sout El Hob label and after our reissue they were happy with the extra visibility allowed us access to their back catalogue to assess whether there might be more projects we might be interested in. Maha’s “Orkos” was immediately a stand out album. A strong and energetic voice equally grounded in jazz as well as Egyptian vocal traditions, singing over instrumentals that offer a very wide range: from the funk sounds of “Law Laffeina El Ard” excursions into Latin music in “Orkos,” to the moody mellow sounds of “We Mesheet.” Nobody at the label really remembered much about the release or Maha herself. At the same time, we knew that this was an album we wanted to turn into a re-release.\u003c\/p\u003e\n\n\u003cp\u003eWhile we could license the music from Sout El Hob, we didn’t want to commit to this project without the blessings and involvement by the woman who created it. We called her in late 2021 and she was clearly surprised to have someone call about music she recorded more than 40 years ago. But she also seemed interested in the idea to bring her music back to people’s attention and so the next time we were in Cairo we planned to meet. A few weeks later we were speaking with our friend Moataz, who runs the Disco Arabesquo project and showed him this great new album we found and to our surprise he knew the album, since having found a tape copy of it a year or two ago in Cairo. Thus, it was an obvious decision to team up for a collaboration for this project.\u003c\/p\u003e\n\n\u003cp\u003eUpon meeting, she told us about how her brother got her introduced to music, and how she played with various bands, including Salah Ragab’s “Cairo Jazz Band”. She also told us how, in the mid 1980’s, she decided to leave music behind for a different life. But she also discussed the struggles and challenges of a woman trying to make it in the music industry. Luckily, she kept a great collection of old photos and she even had a spare copy of the promotional poster made for her release. We explained our vision to her and the idea behind making her music available again. She approved and was happy to share her story to provide valuable information and contextualization, found in the booklet accompanying the vinyl and CD release.\u003c\/p\u003e","brand":"Finer Sounds","offers":[{"title":"Default Title","offer_id":52522414539068,"sku":"FSLP-1387","price":29.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0923\/5320\/0444\/files\/a2477830465_499.webp?v=1764700108"},{"product_id":"ahmed-malek-habibi-funk-003-musique-originale-de-films-vinyl-lp","title":"Ahmed Malek - Habibi Funk 003: Musique Originale De Films Vinyl LP","description":"\u003cp\u003eI still remember the first time I heard Ahmed Malek. It was 2012. Back then I didn’t know much about Arabic music, but I was about to leave Berlin for a couple of weeks to go to Tunisia. I was working as a project manager for a music recoding session which ended up being released by Jakarta Records as the “Sawtuha” release. I knew I would have some time off during my stay and I was certain that I would dedicate some of this time to diggin. I asked some people whether they knew of any titles that I should look for. Roskow, who also ended up re-mastering this release, told me about an Algerian composer called Ahmed Malek whose music was also released in Tunisia.\u003c\/p\u003e\n\n\u003cp\u003eFast forward three years: Arabic records have become my number one hobby and luckily I got my hands on a copy of Ahmed Malek’s “Musique Originale De Films” album. I already knew some of the tracks but listening to the music the way it was originally released, and not as a crappy Youtube version, made me fall in love with Malek’s compositions all the more. It manages to create this very special mood: melancholic and reflective, emotional and touching, but never depressing. Even without having seen any of the pictures created for this, it immediately brings visuals to one’s imagination.\u003c\/p\u003e\n\n\u003cp\u003eAround that time I became captivated with the idea of reissuing some of Ahmed Malek’s music. I knew some people had tried to locate his family but, but with no success. In the end it was an incredible amount of luck that made it possible for you to read these words and listen to this record. I had a DJ gig in Beirut playing old Arabic records and I mentioned my passion for Ahmed Malek’s music to a friend. She said she knew one person in Algier, and as much as it would be a shot in the dark, she could ask her if she had an idea of how to find Malek’s family. Two weeks went by before I heard back, and what I got was incredibly good news. Her Algerian friend was the neighbor of Ahmed Malek’s daughter! I’m not a spiritual person, but it felt like the universe wanted to see this release happen.\u003c\/p\u003e\n\n\u003cp\u003eI started to speak with Henya, Ahmed Malek’s daughter and she was more then happy with our idea. She assured us that her father would have loved the plan as well. She provided us with tons of awesome material, from great photos, to unseen video footage and unreleased tracks; she also told us more about her father’s life:\u003c\/p\u003e\n\n\u003cp\u003eAhmed Malek was born on March, 6th 1932 at Bordj El Kiffan, Algiers. He was the oldest son of a family of 3 brothers and one sister. He went to work at a young age in factories to help his father to raise the family. His mother died when he was 12. It was then that decided he wanted to become a musician, and after graduating school he studied at the Algerian Conservatory. He gained recognition for his craft from an early stage and won several prizes and medals nationally and internationally (The \"Premier grand prix des arts et des lettres de la composition\" in 1972, the golden medal at the \"Panafrican Festival\" in 1976, and the \"Prix du mérite national pour la composition musicale\" in 1987). He was the conductor of the \"Algerian Television Orchestra“ for many decades and represented his country at international events such as the Expo In Japan, Canada, Cuba and Spain. During his time as an active composer he wrote the music for dozens of movies, television shows and documentaries. Then, in the late 90’s, his health deteriorated. He passed on the 24th of July, 2008, at his home in El Mouradio, Algiers.\u003c\/p\u003e","brand":"Finer Sounds","offers":[{"title":"Default Title","offer_id":52522414571836,"sku":"FSLP-1388","price":27.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0923\/5320\/0444\/files\/a2729751478_499.webp?v=1764700109"},{"product_id":"kamal-keila-habibi-funk-008-muslims-and-christians-vinyl-2lp","title":"Kamal Keila - Habibi Funk 008: Muslims and Christians Vinyl 2LP","description":"\u003cp\u003eAbout a year or two ago we started talking to Sharhabeel, one of our favorite Sudanese musicians, with the help of his son and our colleague in Khartoum, Larissa, about re-releasing some of his old music. I had never been to Sudan before and despite some great help in making the release happen we figured it would be a good idea to actually visit Sudan and finalize the release with Sharhabeel. In preparation for the trip I started to dig deeper into Sudanese music trying to identify artists and sounds to dive into. On YouTube I found a music blog dedicated to Sudanese jazz bands run by Yassir Awad, a local IT expert. The Sudanese interpretation of jazz is fairly different to the Western but it opened up a new world for me of around a dozen bands and singers that I wanted to learn more about. Luckily Yassir was more than happy to help me prepare my trip and learn about the musical scene of the nation’s capital in the 1970s. Kamal Keila was a name that came up here and there, coined the James Brown or Fela Kuti of Sudan. When I asked Yassir about him he said that he has extended family ties with him and that he could set up a meeting. We spent an afternoon in Kamal’s living room somewhere in the dusty outskirts of Khartoum. His small house, where he lives with his sons and their families, is located on a little side street. In the tiny garden area he has a number of empty pigeon cages, a testament of one of his hobbies he actively followed until some years ago. Kamal doesn’t know his exact age but was born sometime in the early 1940s and as much as his age shows when he’s moving around in his house he still lights up full of energy when reminiscing about his music.\u003cbr\u003e\nIn our conversation it turned out that even though his career seriously started in the 1960s, he had never released a record on vinyl and that, apart from one album which still remains to be found, he can’t remember about a cassette tape release either. He did however record sessions for Sudanese radio. In Sudan the radio stations were not allowed to play the recordings produced by music labels on air, therefore they had their own studios and invited musicians to record music for their program. In most cases the musicians would not receive a copy of the recordings out of fear that they would release the music themselves. But luckily Kamal Keila had gotten his hands on two sessions and had kept those two studio reels all these years. Both tapes were in the most horrible condition with mold everywhere and obvious signs that they had gotten very wet at some point. Much to our surprise they played very well. 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 indicates 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“.\u003cbr\u003e\nWhen we asked Kamal about the year the recordings were made he didn’t remember and the tapes itself didn’t give a clue either. Sonically we assumed they must be from the mid 1970s but we were in for a surprise when we found a little sheet in one of the cases of the reels. The note 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. Some of the songs were already written in the 1970s and have been part of Kamal’s sets ever since, with only small changes for some contemporary references in the lyrics and musically sometimes adopting to „new“ sounds here and there.\u003cbr\u003e\nKamal 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\u003c\/p\u003e","brand":"Finer Sounds","offers":[{"title":"Default Title","offer_id":52522414604604,"sku":"FSLP-1389","price":34.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0923\/5320\/0444\/files\/a3872614346_499.webp?v=1764700110"},{"product_id":"the-scorpions-saif-abu-bakr-habibi-funk-009-jazz-jazz-jazz-vinyl-lp","title":"The Scorpions \u0026 Saif Abu Bakr - Habibi Funk 009: Jazz, Jazz, Jazz Vinyl LP","description":"\u003cp\u003eI heard about Seif Abu Bakr and The Scorpions for the first time maybe 3-4 years ago. Their album “Jazz, Jazz Jazz” ended up on my radar because of an eBay auction; it might have been the first auction for this particular album on the platform. While the bids kept on rising daily up to a staggering 1000$, if I recall correctly, I was intrigued about the snippet preview bits of the music on this album as well as by the impressive artwork. This album happens to be my first conscious connection with Sudanese music. Habibi Funk must have already existed for a year or so but I had not yet come across any recording from Sudan that I felt fitting in the context we set for our self. I remember I did some quick research in the aftermath of the auction (which I obviously did not win) to gather some information about the band but apart from some vague bits and pieces I could not find anything. In most encyclopedic overviews of the Sudanese music scene of the 1970s the band appeared as a mere footnote. How come? I really do not know. To me the music is a unique combination of incredible horn arrangements powerfully performed, a vigorous drummer contributing a funky backbone and Seif's uniting those elements. The results range from instrumental tracks awaking memories of 1970s crime thriller soundtracks to more Sudanese-rooted tracks, a lot of them modernized versions of traditional tribal rhythms and even an excursion into Soukouss. While all of our reissues so far have been compilations in the sense that we put together our favorite selection of tracks by one artist, this album will be our first 1:1 re-release, simply because the quality of the albums does not fall off on a single track. With its eclectic influences it birthed a one-of-a-kind new mixture and serves as a blueprint for what we are looking for when we release music on Habibi Funk.\u003c\/p\u003e\n\n\u003cp\u003eFast forward to 2017. We had signed a release by Sharhabeel Ahmed in order to finish the project (Yes, this one is still coming...soon.) I planned my first trip to Sudan. Two Austrian friends of mine had just returned from Khartoum and had met Ali Dokka at one of the few remaining live music venues of the city Baba Costa. Ali performs at this Cafe once a week to this day together with his band the Blue Stars. At some point in the 1970s though he used to be the guitar player for The Scorpions. Sure enough I went to see one of his gigs and he was more than surprised to hear questions concerning this particular band from his musical history but which he had nearly forgotten about. He told us to get in touch with Amir Sax. Amir is one of the bands founding members and was The Scorpions band leader from the early 1970s until they parted ways sometime in the 1980s. Unfortunately Amir was not be found or reached during the last couple days of my stay and again a little time passed before I could gather new knowledge about them.\u003c\/p\u003e\n\n\u003cp\u003eI went back to Sudan in December of the same year. In the meantime my local colleagues Larissa and Yassir had managed to reach Amir and he was happy to meet. We got together with him in a Cafe right at the Nile in Omdurman, the city right on the other side of the river from Khartoum. It was a happy occasion for everyone. He told us stories about him meeting Jimmy Cliff and Lewis Armstrong when they visited Sudan and how he and his band mates from The Scorpions played extensively in Kuwait, both in club residencies as well as for television. Amir brought tons of incredible photos illustrating not only the bands history but the vivid cultural live in the many music clubs in Khartoum of the 1970s. During this decade up until 1983 the capital was home to a huge number of clubs and concert halls. This scene started to perish after Nimeiry's turn towards the implementation of Sharia law in 1983. During the first decade of his rule he had actively supported various artists of the Jazz scene and was even taking artist like Kamal Keila along with him to trips throughout Africa. The 1989 coup of Bashir and his generals then caused the final blow to a once thriving scene. Both of these political events within 6 years lead to significant drawbacks for the Sudanese jazz scene resulting into hardly no gig opportunities left and parties and concerts being critically observed by the regime. A number of musicians faced prosecution, most of the time for their political views; some left Sudan for good. Music never completely vanished from public life and even the regime kept selected artists close but for a majority of those bands affiliated to the jazz scene life and making ends became a lot harder.\u003c\/p\u003e\n\n\u003cp\u003eThe Scorpions dissolved as a group around the same time. After the end of the band's activity Amir continued to be a full-time musician playing at various occasions. Seif Abu Bakr, the bands singer stayed in Kuwait after the recordings of the album and started pursuing a career outside the music industry although he kept on playing to this day with other bands in Kuwait in his spare time.\u003c\/p\u003e\n\n\u003cp\u003eI'm writing these introductory words in early August 2018. It is a Sunday and tomorrow The Scorpions will have one of their first rehearsals again. Seif Abu Bakr returned to his home country Sudan from Kuwait few weeks ago and the plan to re-release the music had been an igniting spark as well. Either way, it seems the narration of The Scorpions has not reached its end yet, let us hope this will only be another starting point within the bands long career. A starting point from which onwards they will receive a little more of the attention they have had deserved right from the beginning; both by a new generation of Sudanese as well as by the rest of the world.\u003c\/p\u003e","brand":"Finer Sounds","offers":[{"title":"Default Title","offer_id":52522414670140,"sku":"FSLP-1390","price":27.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0923\/5320\/0444\/files\/a2819168266_499.webp?v=1764700112"},{"product_id":"charif-megarbane-ali-tirakat-vinyl-lp","title":"Charif Megarbane, Ali - Tirakat Vinyl LP","description":"\u003cp\u003e\u003cspan\u003eTirakat brings together Jakarta-based trio Ali and Lebanese composer and multi-instrumentalist Charif Megarbane in a collaboration shaped by long-standing cultural exchange between Indonesia and the Arab world. Ali’s blend of 1970s Indonesian psychedelic funk, Melayu traditions, disco grooves and Arab melodic forms meets Charif’s long-running exploration of cross-regional sound, rooted in a shared musical vocabulary rather than genre.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eRather than approaching the project as fusion, Tirakat reflects a way of making music that feels already interconnected. Melodies, grooves and textures move fluidly without signalling their sources, grounded in a performance-led process shaped by intuition, repetition and trust. Western instruments are played through techniques and sensibilities formed in Indonesia and Lebanon, emphasising circulation of influence.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe title Tirakat refers to a Javanese practice of discipline, patience and devotion, derived from the Arabic tariqa (“path” or “method”). This layered meaning mirrors the album’s focus on process and continuity. The result is a record that feels both contemporary and timeless, where Indonesian and Arab sounds intersect naturally through groove, texture and melody.\u003c\/span\u003e\u003c\/p\u003e","brand":"Finer Sounds","offers":[{"title":"Default Title","offer_id":52940213911868,"sku":"FSLP-1919","price":29.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0923\/5320\/0444\/files\/a0206727659_0.jpg?v=1774971492"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0923\/5320\/0444\/collections\/Finer_Sounds_Script_39b3d260-5b87-4a0d-8dc9-78d08d1cbb00.png?v=1774720331","url":"https:\/\/finersounds.com\/collections\/habibi-funk-records.oembed","provider":"Finer Sounds","version":"1.0","type":"link"}