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Search Result for Genre WORLD
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CD
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GB 063CD
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$15.50
PREORDER
RELEASE DATE: 10/19/2018
São Paulo's acclaimed ten-piece instrumental collective return for their fourth album, Quebra Cabeça. Urban Afro-Brazilian grooves, empowered horn-driven melodicism, and massive dancefloor inspiration. One of South America's most exhilarating musical propositions. Almost four centuries after the first slave ships loaded their cargoes and set sail, the connection between Brazil and West Africa remains firm and deep. Africa is everywhere in Brazil, and it pulses through the music on Quebra Cabeça ("Puzzle"), Bixiga 70's second studio album for Glitterbeat, where two continents dance together across the black Atlantic. Bixiga 70 have created hybrid in their music --with each member pulling from candomblé (the African-Caribbean religion), jazz, reggae, dub -- and each influence takes on a slightly different form. On Quebra Cabeça, that sound becomes more complex. That's apparent in the shifts and turns of a piece like "Pedra De Raio" or "Levante", where the melody shifts and swerves, one section flowing naturally into the next, adding layer upon layer to create something astonishing and utterly satisfying in its power. In large part, this change has come from the band's relentless touring over the last few years. "We've been exposed to so much," flutist Cuca Ferreira notes. "So many of the people we've played with have had an impact on us, like Pat Thomas, the Ghanaian highlife singer or [Nigerian saxophonist] Orlando Julius. And then we toured and recorded with João Donato . . . We've learned from them all, they've made us think about what we can do with our music." One result is the new, shining lyricism of the melodies, with the horns pushed even more to the fore, parading around with a singer's swagger. Quebra Cabeça is a very memorable set of hummable earworms, from the title cut that opens up the album and continuing, sinewy and cool and relentless, all the way to the final note of "Portal". Throughout though, the heartbeat of everything remains utterly African, refracted through the prism of the band's home in the Bixiga neighborhood of São Paulo. Bixiga 70 has always been a reflection of the streets where they live. The band played their first show in October 2010 and released their debut album a year later. Eight years on they are still the same ten-piece collective, honing and shaping the music, evolving towards the changes found on Quebra Cabeça.
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2LP
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GB 063LP
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$34.50
PREORDER
RELEASE DATE: 10/19/2018
Double LP version. 180 gram vinyl; Includes download code. São Paulo's acclaimed ten-piece instrumental collective return for their fourth album, Quebra Cabeça. Urban Afro-Brazilian grooves, empowered horn-driven melodicism, and massive dancefloor inspiration. One of South America's most exhilarating musical propositions. Almost four centuries after the first slave ships loaded their cargoes and set sail, the connection between Brazil and West Africa remains firm and deep. Africa is everywhere in Brazil, and it pulses through the music on Quebra Cabeça ("Puzzle"), Bixiga 70's second studio album for Glitterbeat, where two continents dance together across the black Atlantic. Bixiga 70 have created hybrid in their music --with each member pulling from candomblé (the African-Caribbean religion), jazz, reggae, dub -- and each influence takes on a slightly different form. On Quebra Cabeça, that sound becomes more complex. That's apparent in the shifts and turns of a piece like "Pedra De Raio" or "Levante", where the melody shifts and swerves, one section flowing naturally into the next, adding layer upon layer to create something astonishing and utterly satisfying in its power. In large part, this change has come from the band's relentless touring over the last few years. "We've been exposed to so much," flutist Cuca Ferreira notes. "So many of the people we've played with have had an impact on us, like Pat Thomas, the Ghanaian highlife singer or [Nigerian saxophonist] Orlando Julius. And then we toured and recorded with João Donato . . . We've learned from them all, they've made us think about what we can do with our music." One result is the new, shining lyricism of the melodies, with the horns pushed even more to the fore, parading around with a singer's swagger. Quebra Cabeça is a very memorable set of hummable earworms, from the title cut that opens up the album and continuing, sinewy and cool and relentless, all the way to the final note of "Portal". Throughout though, the heartbeat of everything remains utterly African, refracted through the prism of the band's home in the Bixiga neighborhood of São Paulo. Bixiga 70 has always been a reflection of the streets where they live. The band played their first show in October 2010 and released their debut album a year later. Eight years on they are still the same ten-piece collective, honing and shaping the music, evolving towards the changes found on Quebra Cabeça.
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CD
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CLE 022CD
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$12.00
PREORDER
RELEASE DATE: 10/19/2018
Sékou Bah has performed on stages around the world; he was musical director for Oumou Sangaré and he was a member of Salif Keita's band for several years. Currently, Sékou is bassist with Fatoumata Diawara. On Soukabbè Mali, Sékou collaborates with some of the best musicians working today in Mali including Harouna Samaké and Antoine LeRoi. Brilliant playing, smooth vocals and a suave sound bring this album from Mali to the fore. The last two tracks are remixed for dance clubs, and the album also remembers the superb young balafonist Amadou Keita, who died in a traffic accident a few short weeks after recording on this album.
Personnel: Sékou Bah - bass, lead vocal, guitar; Yacouba Koné - lead guitar; Mamadou "Prince" Koné - percussion; Yero Dicko - rhythm guitar; Cherif Soumano - kora; Harouna Samaké - kamel ngoni, vocals; Antoine LeRoi - acoustic guitar; Will Calhoun - drums; Amadou Keita - balafon; Ami Koité - vocals; Hawa Maiga - vocals; Master Soumy - rap vocals.
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CD
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FARO 022X-CD
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$14.00
PREORDER
RELEASE DATE: 10/5/2018
Up until Nova Bossa Nova, Marcos Valle's first release for Far Out Recordings originally released in 1997, Marcos Valle hadn't released an album for well over a decade. After 1983, he resented the way the music industry had changed with commercialization and new demands curtailing his creative freedom. This was until 1994 when Marcos met Far Out Recordings boss Joe Davis and they recorded a track for Far Out's first Friends From Rio album. This new collaborative partnership resulted in a new solo album, which commenced recording in 1996. Nova Bossa Nova brought Marcos bouncing back into the '90s, slotting nicely in place alongside the acid jazz movement as well as a voracious new demand for Brazilian music on dancefloors from London to Tokyo. It was witnessing the London club scene's growing appetite for Brazilian music, as well as a lack of new sounds coming out of Brazil at the time, that a young Joe Davis put in a proposal to record a new album with one of his musical idols. Joe wanted to facilitate an album which would combine the latest technologies and production techniques, with live to analog tape recording: a Marcos Valle album tailor-made for London's clubs. Always open to modern influences and possibilities, Marcos agreed to the project, and Joe and his production partner Roc Hunter flew to Rio in '96. The record wasn't released until '98, as the original ½ inch tapes were stolen from Far Out's London studio, meaning parts of the album had to be re-recorded. Nova Bossa Nova was unveiled at the peak of the of the Brazilian movement, the record would also prove to be something of a revolution, inspiring a new generation of artists like Bebel Gilberto, Sabrina Malheiros, Da Lata, and Bossacucanova, who continued to fuse Brazilian influences with modern electronic sounds. The album takes a panoramic view of Valle's career, which was so fundamental in defining the standard of bossa back in the sixties and continues to do so to this day. "Nova Bossa Nova", the album's title track is an update on Marcos's trademark style, developing a more modern, funkier sound. Other gems include the dancefloor ready re-work of his 1970 hit "Freio Aerodynamico", and the smooth instrumentals "Bar Ingles", a jazz fusion looper, and the sun-soaked samba "Nordeste".
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LP
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SNDW 126LP
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$27.50
PREORDER
RELEASE DATE: 10/5/2018
Soundway presents a reissue of Brazilian duo Grupo Controle Digital's only album, A Festa É Nossa, originally released in 1988. The title track "A Festa É Nossa" having circulated in DJ sets of influential tastemakers, the album has become highly sought after by electronic fans and collectors alike. Lo-fi synths and cruising bass lines permeate the record, influenced by the group's Brazilian contemporaries at the time such as Tim Maia, Cláudio Zoli, Secos E Molhados, and rock outfit Made In Brazil. Band members Billy Jaguar and Gel Valiery regularly performed in various groups in São Paulo throughout the '80s and '90s, but after Gel passed away, Grupo Controle Digital was no more -- the band and the album faded into obscurity and Billy became a priest, working with gospel music. It remained that way until Brazilian DJ Millos Kaiser (from label Selva Discos, and one half of Brazilian street party organizers Selvagem) tracked down the remaining member of the group to be able to include one of their tracks on the highly anticipated Soundway compilation, Onda De Amor: Synthesized Brazilian Hits That Never Were (1984-94) (SNDW 125CD/LP, 2018). Audio restored by Neal Birnie. Artwork restored by Lewis Heriz. Remastered by Frank Merritt at The Carvery, London. Tip-on heavyweight sleeve.
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LP
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FARO 022X-LP
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$22.00
PREORDER
RELEASE DATE: 10/5/2018
LP version. 180 gram vinyl; Includes download code. Up until Nova Bossa Nova, Marcos Valle's first release for Far Out Recordings originally released in 1997, Marcos Valle hadn't released an album for well over a decade. After 1983, he resented the way the music industry had changed with commercialization and new demands curtailing his creative freedom. This was until 1994 when Marcos met Far Out Recordings boss Joe Davis and they recorded a track for Far Out's first Friends From Rio album. This new collaborative partnership resulted in a new solo album, which commenced recording in 1996. Nova Bossa Nova brought Marcos bouncing back into the '90s, slotting nicely in place alongside the acid jazz movement as well as a voracious new demand for Brazilian music on dancefloors from London to Tokyo. It was witnessing the London club scene's growing appetite for Brazilian music, as well as a lack of new sounds coming out of Brazil at the time, that a young Joe Davis put in a proposal to record a new album with one of his musical idols. Joe wanted to facilitate an album which would combine the latest technologies and production techniques, with live to analog tape recording: a Marcos Valle album tailor-made for London's clubs. Always open to modern influences and possibilities, Marcos agreed to the project, and Joe and his production partner Roc Hunter flew to Rio in '96. The record wasn't released until '98, as the original ½ inch tapes were stolen from Far Out's London studio, meaning parts of the album had to be re-recorded. Nova Bossa Nova was unveiled at the peak of the of the Brazilian movement, the record would also prove to be something of a revolution, inspiring a new generation of artists like Bebel Gilberto, Sabrina Malheiros, Da Lata, and Bossacucanova, who continued to fuse Brazilian influences with modern electronic sounds. The album takes a panoramic view of Valle's career, which was so fundamental in defining the standard of bossa back in the sixties and continues to do so to this day. "Nova Bossa Nova", the album's title track is an update on Marcos's trademark style, developing a more modern, funkier sound. Other gems include the dancefloor ready re-work of his 1970 hit "Freio Aerodynamico", and the smooth instrumentals "Bar Ingles", a jazz fusion looper, and the sun-soaked samba "Nordeste".
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LP
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VAMPI 184LP
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$21.00
PREORDER
RELEASE DATE: 10/5/2018
"Vampisoul present the latest volume in their Discos Fuentes reissue series, Salsa Con Monte, an instant tropical Latin dance party from Blas 'Michi' Sarmiento. Honestly, all Michi Y Sus Bravos albums are all so good. However, a poll with fans and DJs, selected his sixth album Salsa Con Monte, from 1973, issued here for the first time. 'El Michi', as his grandmother nicknamed him, is the son of the famous reedman Clímaco Sarmiento, a bandleader who recorded with Fuentes for decades. Proficient in percussion and singing from an early age, Michi is most known for following in his father's footsteps with clarinet, saxophone, composition and musical arranging as his signature skills. By 17 Michi had his own band and by 1967 his Bravos were competing with local sound systems and radio stations that were playing salsa, descarga, charanga, and boogaloo. While Sarmiento has consistently maintained his love of traditional Afro-Colombian-rooted 'música costeña' to this day (porro, cumbia, cumbelé, gaita, paseo and merecumbé), Los Bravos always played it hard, loose and fast, because they had to compete with the DJs. Michi preferred recording "live" in the studio with the result being an accurate document of what a powerful outfit they must have been to experience in person. This album contains a number of excellent cover tunes, including the rather surprising choice of Gilberto Gil's "Viramundo". This opening cut is followed in quick succession by a dizzyingly diverse gaggle of genres, namely cumbelé, calypso, pasebol, cumbión and rumba. One could truly say Michi and his band of 'braves' bring us quite a heavy load of salsa 'mounted' on this record (Salsa Con Monte, referring to Michi's motorbike 'mount' on the cover), which is exactly what's happening by the look of the front and back jackets of this classic Discos Fuentes LP." --Pablo Yglesias, aka DJ Bongohead Issued with facsimile artwork and pressed on 180 gram vinyl.
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LP
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AKU 1009LP
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$21.00
PREORDER
RELEASE DATE: 9/21/2018
Music of Southern Laos, subtitled Provinces of Champasak, Attapeu, Sekong and Saravan. One part of Akuphone's collection of Laotian music. Includes liner notes in English, French, and Japanese and a download code. Akuphone presents a collection of recordings of various musical practices from the Laotian provinces of Champasak, Attapeu, Sekong, Saravan, Luang Namtha and Phongsaly. These documents are a perfect introduction to the traditional music of South Laos minority groups. Popular modern music is widely spread but visitors are barely ever exposed to ancient acoustic practices from villages. As a matter of fact, mouth organs of various sizes exist among the Hmong and Bit as well as amazing vocal techniques among the Lantene, Ahka, or Khmu who combine simultaneous singing and flute notes. This collection also compels one to discover the Brao gongs, the Triang bamboo flutes, the Lao, Ta Oy, Alak, OI, Pacoh, or Nyaheun mouth organs as well as the powerful singing accompanying these instruments. Caught on the spot, these outstanding testimonies were collected between 2006 and 2013 by Laurent Jeanneau, aka Kink Gong. Through his researches, this self-taught ethnologist has gradually become one of the specialists of the field, building up a collection of complete and fascinating sound archives which contribute documenting parts of this immaterial heritage. Music of Southern and Northern Laos brings some light on a region of South East Asia still largely unknown from the general audience as well as the recently reborn ethnographic musical industry. This compilation will delight both molam/khene lovers and beginners unused to South East Asian sounds.
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RWR 003CD
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$15.50
PREORDER
RELEASE DATE: 9/21/2018
The music contained on this album invokes the vibes and spirit that were so crucial to much of the music recorded during the 1960s and '70s in Jamaica. The musicians and singers of this era will tell you that the driving force behind the songs they created was the sheer love of music. The Kingston All Stars represent some of the most legendary musicians to ever grace the little island and it is thanks to their passion and dedication that we have a lifetime of music to enjoy. This is the third KAS LP showcasing the talents of Jamaica's top session musicians from the golden era of Jamaican music. These are the artists who laid the foundation for rocksteady, reggae, roots and beyond in countless recording sessions around Jamaica. The Kingston All Stars include Sly Dunbar, Hux Brown, Mikey "Mao" Chung, Ansel Collins, Jackie Jackson, Robbie Lyn, Everton & Everald Gayle with the guidance of musician, writer & engineer Moss " Mossman " Raxlen. Members of the Kingston All Stars have been part of/or recorded with The Revolutionaries, Lynn Taitt & The Jets, Studio One's Sound Dimension and Soul Vendors Band, Lee "Scratch" Perry's Upsetters, Peter Tosh's Word Sound and Power band, Toots and the Maytals, Now Generation, In Crowd, Wailers Band and countless others. The album's intro piece "Boo Rock", is a tribute to the legendary drummer Mikey "Boo" Richards. Singer Allen Jahsana brings two amazing songs to the project on "Jungle Justice" and "Rising from the Ghetto." Carol Brown's "Only Jah Knows" on a sweet dubbed out rocksteady riddim shines that much brighter with the help of her daughter, Krystal Mittoo. Legendary roots vocalist Prince Alla adds a real classic vibe to a new song he wrote titled "My Vision". A proper roots anthem from singer RZee Jackson with conscious lyrics and RZee's unique vocal style.
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LP
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RMLP 005LP
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$27.50
PREORDER
RELEASE DATE: 9/21/2018
Zamaan Ya Sukkar is a rich musical portrait from the time when Cairo was the vibrant cultural heart of the Middle East and the grandeur of the leading orchestras was incomparable. Unearthed Latin and jazz-tinged tracks will let your mind drift off to the glamorous nightlife of '60s Cairo. Meet some forgotten souls of the Egyptian music scene and cinema world. Sensual voices and Bollywood-like orchestra sounds inflame the senses of the body with an intangible exotic twist! All music is remastered from original 45s produced by Sono Cairo. Features Salim El Baroudi, Sayed Salamah, Abd Al Fattah Mansi, Soad Mohamed, Al Thourathy Al Mareh, Taha Al-Ugayl, Mohamed Fawzy, and Magda Ali. Includes download.
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LP
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AKU 1010LP
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$21.00
PREORDER
RELEASE DATE: 9/21/2018
Music of Northern Laos, subtitled Provinces of Luang Namtha et Phongsaly. One part of Akuphone's collection of Laotian music. Includes liner notes in English, French, and Japanese and a download code. Akuphone presents a collection of recordings of various musical practices from the Laotian provinces of Champasak, Attapeu, Sekong, Saravan, Luang Namtha and Phongsaly. These documents are a perfect introduction to the traditional music of South Laos minority groups. Popular modern music is widely spread but visitors are barely ever exposed to ancient acoustic practices from villages. As a matter of fact, mouth organs of various sizes exist among the Hmong and Bit as well as amazing vocal techniques among the Lantene, Ahka, or Khmu who combine simultaneous singing and flute notes. This collection also compels one to discover the Brao gongs, the Triang bamboo flutes, the Lao, Ta Oy, Alak, OI, Pacoh, or Nyaheun mouth organs as well as the powerful singing accompanying these instruments. Caught on the spot, these outstanding testimonies were collected between 2006 and 2013 by Laurent Jeanneau, aka Kink Gong. Through his researches, this self-taught ethnologist has gradually become one of the specialists of the field, building up a collection of complete and fascinating sound archives which contribute documenting parts of this immaterial heritage. Music of Southern and Northern Laos brings some light on a region of South East Asia still largely unknown from the general audience as well as the recently reborn ethnographic musical industry. This compilation will delight both molam/khene lovers and beginners unused to South East Asian sounds.
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CD
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AKU 1009-10CD
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$16.50
PREORDER
RELEASE DATE: 9/21/2018
Akuphone presents a collection of recordings of various musical practices from the Laotian provinces of Champasak, Attapeu, Sekong, Saravan, Luang Namtha and Phongsaly. These documents are a perfect introduction to the traditional music of South Laos minority groups. Popular modern music is widely spread but visitors are barely ever exposed to ancient acoustic practices from villages. As a matter of fact, mouth organs of various sizes exist among the Hmong and Bit as well as amazing vocal techniques among the Lantene, Ahka, or Khmu who combine simultaneous singing and flute notes. This collection also compels one to discover the Brao gongs, the Triang bamboo flutes, the Lao, Ta Oy, Alak, OI, Pacoh, or Nyaheun mouth organs as well as the powerful singing accompanying these instruments. Caught on the spot, these outstanding testimonies were collected between 2006 and 2013 by Laurent Jeanneau, aka Kink Gong. Through his researches, this self-taught ethnologist has gradually become one of the specialists of the field, building up a collection of complete and fascinating sound archives which contribute documenting parts of this immaterial heritage. Music of Southern and Northern Laos brings some light on a region of South East Asia still largely unknown from the general audience as well as the recently reborn ethnographic musical industry. This compilation will delight both molam/khene lovers and beginners unused to South East Asian sounds.
The CD version gathers both Music of Southern Laos and Music of Northern Laos over a single disc. Includes liner notes in English, French, and Japanese and a download code.
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3LP
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AALP 087LP
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$34.00
PREORDER
RELEASE DATE: 9/21/2018
Triple LP version. 140 gram vinyl; Gatefold sleeve with liner notes and pictures. Following Analog Africa founder Samy Ben Redjeb's dangerous trip to Mogadishu in November of 2016, the label presents Dur Dur of Somalia: Volume 1, Volume 2 & Previously Unreleased Tracks. Dur-Dur, a young band from the '80s, climaxed as a band in April of 1987 with the release of Volume 2, their second album. The secrets to Dur-Dur's rapid success is inextricably linked to the vision of Isse Dahir, founder and keyboard player of the band. Isse's plan was to locate some of the most forward-thinking musicians of Mogadishu's buzzing scene and lure them into Dur-Dur. Ujeeri, the band's mercurial bass player was recruited from Somali jazz and drummer extraordinaire Handal previously played in Bakaka Band. Isse also added his two younger brothers to the line-up: Abukar Dahir Qassin was brought in to play lead guitar, and Ahmed Dahir Qassin was hired as a permanent sound engineer. On their first two albums, Volume 1 and Volume 2, three different singers traded lead-vocal duties back and forth. Shimaali, formerly of Bakaka Band, handled the Dhaanto songs, a Somalian rhythm from the northern part of the country that bears a striking resemblance to reggae; Sahra Dawo, a young female singer, had been recruited from Somalia's national orchestra, the Waaberi Band. Their third singer, the legendary Baastow, who had also been a vocalist with the Waaberi Band, and had been brought into Dur-Dur due to his deep knowledge of traditional Somali music, particularly Saar, a type of music intended to summon the spirits during religious rituals. From the very beginning, Dur-Dur's doctrine was the fusion of traditional Somali music with whatever rhythms would make people dance: funk, reggae, soul, disco, and new wave were mixed effortlessly with Banaadiri beats, Dhaanto, and spiritual Saar music. The concoction was explosive. It initially seemed that Dur-Dur's music had only been preserved as a series of murky tape dubs and YouTube videos, but after Samy arrived in Mogadishu he eventually got to the heart of Mogadishu's tape-copying network and ended up finding some of the band's fabled master tapes, long thought to have disappeared. This set reissues the band's first two albums -- the first installment in a three-part series dedicated to Dur-Dur Band -- representing the first fruit of Analog Africa's long labors to bring this extraordinary music to the wider world. Remastered from the best available audio sources. Includes two previously unreleased tracks; Accompanied by extensive liner notes, featuring interviews with original band members.
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LP
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CAL 003LP
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$25.50
PREORDER
RELEASE DATE: 9/21/2018
Cal Comunicaciones/Discos Eternos present a reissue of Los Destellos' En Orbita, originally released in 1969. This hundred-percent modern group has invaded the musical environment with many tropical versions that are received with great enthusiasm and applause by all audiences. With En Orbita, Los Destellos mix tropical music with the rhythm of guajiras, paseíto, and the boogaloo sabor, highlighting one of their greatest instrumental successes: "Para Elisa", an original theme by Beethoven, was included in Pedro Almodovar's film The Passenger Lovers. Cumbias with "Cucaracha", "Cumbia Del Desierto", and "Virgencita" continuing on a path that was captivating, experimental, and novel for the time.
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LP
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RWR 003LP
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$25.50
PREORDER
RELEASE DATE: 9/21/2018
LP version. The music contained on this album invokes the vibes and spirit that were so crucial to much of the music recorded during the 1960s and '70s in Jamaica. The musicians and singers of this era will tell you that the driving force behind the songs they created was the sheer love of music. The Kingston All Stars represent some of the most legendary musicians to ever grace the little island and it is thanks to their passion and dedication that we have a lifetime of music to enjoy. This is the third KAS LP showcasing the talents of Jamaica's top session musicians from the golden era of Jamaican music. These are the artists who laid the foundation for rocksteady, reggae, roots and beyond in countless recording sessions around Jamaica. The Kingston All Stars include Sly Dunbar, Hux Brown, Mikey "Mao" Chung, Ansel Collins, Jackie Jackson, Robbie Lyn, Everton & Everald Gayle with the guidance of musician, writer & engineer Moss " Mossman " Raxlen. Members of the Kingston All Stars have been part of/or recorded with The Revolutionaries, Lynn Taitt & The Jets, Studio One's Sound Dimension and Soul Vendors Band, Lee "Scratch" Perry's Upsetters, Peter Tosh's Word Sound and Power band, Toots and the Maytals, Now Generation, In Crowd, Wailers Band and countless others. The album's intro piece "Boo Rock", is a tribute to the legendary drummer Mikey "Boo" Richards. Singer Allen Jahsana brings two amazing songs to the project on "Jungle Justice" and "Rising from the Ghetto." Carol Brown's "Only Jah Knows" on a sweet dubbed out rocksteady riddim shines that much brighter with the help of her daughter, Krystal Mittoo. Legendary roots vocalist Prince Alla adds a real classic vibe to a new song he wrote titled "My Vision". A proper roots anthem from singer RZee Jackson with conscious lyrics and RZee's unique vocal style.
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CAL 001LP
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$25.50
PREORDER
RELEASE DATE: 9/21/2018
Cal Comunicaciones/Discos Eternos present a reissue of Los Destellos' self-titled first album, originally released in 1968. Los Destellos created and initiated what is known as Peruvian cumbia. The band mixes tropical music with rock and the use of electric instruments and drums, achieving successes like "El Avipon", "Guajira Sicodelica", or "La Ardillita" (years after recorded by Colombian groups). All cuts are instrumentals that are fused with guitars, heirs of psychedelic rock and native sounds of the Peruvian jungle. With this reissue, a valuable piece of musical archeology is recovered. This musical group was impeccably formed and directed by Enrique Delgado. So that everyone has the opportunity to enjoy, dance, and rejoice with Los Destellos, the incomparable joy of this set has twelve great and momentous dancing rhythms. Very tasty cumbias, danceable melodies, recorded with the highest technique and full of flavor. Los Destellos managed to capture with their self-titled album, true sonic hymns that stand out for their freshness and powerful guitars, with different tropical rhythms like guaracha, guajira, descarga, bolero, and cumbia achieving an untiring source of originality. The authentic ambassadors of the Peruvian cumbia.
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LP+CD
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SSMM 001LP
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$25.00
PREORDER
RELEASE DATE: 9/21/2018
Sound Miracle Recordings presents a collection of thirteen ancient pieces of primitive flamenco music from the 1930s onwards. Flamenco music has been admired throughout the world for centuries. Fascinating unique, esoteric and mysterious, alloy of fire and witchcraft. Flamenco is much more than that. It has something of folk, something of sacred music, something of "blues": it is a unique music in the world, born of many factors and opposite and antagonistic elements, like its country of origin. And like other traditions, it's not just music, it's a way of life. This compilation also brings us echoes of that way of life and aromas of places that today seem distant galaxies. For the connoisseur, names like La Niña de los Peines, Manuel Torre, Aurelio, Carmen Amaya, and others will make your mouth water. As if that were not enough, underground gents such as Sarita Heredia and Pericón de Cádiz coexist side by side with these great historical names. Bearing in mind that they can never be all they are in one single disc; the selection of voices is exquisite: from the acute of Manuel Vallejo to the wounding of Angelillo or Manolo Caracol, and everything that fits in between. This compilation shows some of the earliest examples of Flamenco music recorded, brutal and exciting music that easily combines the known and the darkest, more accessible and attractive for the audience that is approaching for the first time. Also includes tracks by Juan Varea, Antonio Rengel, Estrellita Castro and Niña De La Puebla. Presented on audiophile transparent clear vinyl with a CD included; fully remastered with detailed liner notes.
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RWR 003LTD-LP
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$25.50
PREORDER
RELEASE DATE: 9/21/2018
Limited colored vinyl version. The music contained on this album invokes the vibes and spirit that were so crucial to much of the music recorded during the 1960s and '70s in Jamaica. The musicians and singers of this era will tell you that the driving force behind the songs they created was the sheer love of music. The Kingston All Stars represent some of the most legendary musicians to ever grace the little island and it is thanks to their passion and dedication that we have a lifetime of music to enjoy. This is the third KAS LP showcasing the talents of Jamaica's top session musicians from the golden era of Jamaican music. These are the artists who laid the foundation for rocksteady, reggae, roots and beyond in countless recording sessions around Jamaica. The Kingston All Stars include Sly Dunbar, Hux Brown, Mikey "Mao" Chung, Ansel Collins, Jackie Jackson, Robbie Lyn, Everton & Everald Gayle with the guidance of musician, writer & engineer Moss " Mossman " Raxlen. Members of the Kingston All Stars have been part of/or recorded with The Revolutionaries, Lynn Taitt & The Jets, Studio One's Sound Dimension and Soul Vendors Band, Lee "Scratch" Perry's Upsetters, Peter Tosh's Word Sound and Power band, Toots and the Maytals, Now Generation, In Crowd, Wailers Band and countless others. The album's intro piece "Boo Rock", is a tribute to the legendary drummer Mikey "Boo" Richards. Singer Allen Jahsana brings two amazing songs to the project on "Jungle Justice" and "Rising from the Ghetto." Carol Brown's "Only Jah Knows" on a sweet dubbed out rocksteady riddim shines that much brighter with the help of her daughter, Krystal Mittoo. Legendary roots vocalist Prince Alla adds a real classic vibe to a new song he wrote titled "My Vision". A proper roots anthem from singer RZee Jackson with conscious lyrics and RZee's unique vocal style.
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7"
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VAMPI 45069EP
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$9.00
PREORDER
RELEASE DATE: 9/21/2018
La Redada is a sextet of tropical psychedelic musicians from the capital of Mexico consisting of Carlos Icaza, Julian Huerta, Daniel Llermaly, Óscar Ojeda, Feike de Jong, and Fernando Caridi. They reference Latin American music from the '30s to the '70s, reinventing sounds hidden in crates of second-hand vinyl. La Redada takes these songs with the goal of revisiting an imaginary past of Mexico City. The sound of La Redada is determined by its instrumentation: drums, organ, bass, percussions, woodwinds, and theremin. The composition of the band is cosmopolitan, numbering two Chileans, a Dutchman, and three Mexicans.
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LP
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HC 056LP
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$25.50
PREORDER
RELEASE DATE: 9/21/2018
Hot Casa present a reissue of The Soul Kids' Toute L'Afrique Danse Vol. 10. This is a rare gem of a record from the fantastic soul band The Soul Kids, stemming from the Democratic Republic of Congo, which includes covers of James Brown & The Mighty Flames' hit singles "Licking Stick" (1968) and "Papa's Got A Brand New Bag" (1965), Wilson Pickett's "Hey Jude", and a French vocal version of Otis Redding's soul hit, "Respect". This amazing young band, which released only four 7" singles and one album, is a great example of the influence of soul music and French pop bridging to the new Afro soul scene that the musicians of Kinshasa were involved in during the time of post-independence. Ngoma was one of the first record labels intent on providing local artists' recordings from both sides of the Congo river to the people of the DRC and West Africa. Created in 1948 by a Greek man by the name of Nicolas Jeronimidis, the Ngoma label was active through 1968 and pressing in France until 1971, leaving a tremendous catalog, including this historical and essential soul masterpiece.
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2CD
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AACD 087CD
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$23.50
PREORDER
RELEASE DATE: 9/21/2018
Following Analog Africa founder Samy Ben Redjeb's dangerous trip to Mogadishu in November of 2016, the label presents Dur Dur of Somalia: Volume 1, Volume 2 & Previously Unreleased Tracks. Dur-Dur, a young band from the '80s, climaxed as a band in April of 1987 with the release of Volume 2, their second album. The secrets to Dur-Dur's rapid success is inextricably linked to the vision of Isse Dahir, founder and keyboard player of the band. Isse's plan was to locate some of the most forward-thinking musicians of Mogadishu's buzzing scene and lure them into Dur-Dur. Ujeeri, the band's mercurial bass player was recruited from Somali jazz and drummer extraordinaire Handal previously played in Bakaka Band. Isse also added his two younger brothers to the line-up: Abukar Dahir Qassin was brought in to play lead guitar, and Ahmed Dahir Qassin was hired as a permanent sound engineer. On their first two albums, Volume 1 and Volume 2, three different singers traded lead-vocal duties back and forth. Shimaali, formerly of Bakaka Band, handled the Dhaanto songs, a Somalian rhythm from the northern part of the country that bears a striking resemblance to reggae; Sahra Dawo, a young female singer, had been recruited from Somalia's national orchestra, the Waaberi Band. Their third singer, the legendary Baastow, who had also been a vocalist with the Waaberi Band, and had been brought into Dur-Dur due to his deep knowledge of traditional Somali music, particularly Saar, a type of music intended to summon the spirits during religious rituals. From the very beginning, Dur-Dur's doctrine was the fusion of traditional Somali music with whatever rhythms would make people dance: funk, reggae, soul, disco, and new wave were mixed effortlessly with Banaadiri beats, Dhaanto, and spiritual Saar music. The concoction was explosive. It initially seemed that Dur-Dur's music had only been preserved as a series of murky tape dubs and YouTube videos, but after Samy arrived in Mogadishu he eventually got to the heart of Mogadishu's tape-copying network and ended up finding some of the band's fabled master tapes, long thought to have disappeared. This set reissues the band's first two albums -- the first installment in a three-part series dedicated to Dur-Dur Band -- representing the first fruit of Analog Africa's long labors to bring this extraordinary music to the wider world. Remastered from the best available audio sources. Includes two previously unreleased tracks; Accompanied by extensive liner notes, featuring interviews with original band members. Double-CD version comes with 12-page booklet.
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CD
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GB 061CD
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$15.50
PREORDER
RELEASE DATE: 9/21/2018
A collection of early singles by the renowned Zimbabwean Mbira master and a true African music icon, Stella Chiweshe. The songs were mostly recorded in the 1970s, during the buildup to the Chimurenga revolution, and were only ever released in Stella's home country. Stella's album Kasahwa: Early Singles offers a fascinating introduction to the world of Mbira, with the term not only referring to the instrument, but also to a musical genre -- and on a much wider level, to an entire culture and deeply spiritual lifestyle at the core of the young Zimbabwean nation. Mbira is an ancient mystical music which has been played for over a thousand years by the Shona people. Mbira pervades all aspects of Shona culture, both sacred and secular. Its most important function is as a "telephone to the spirits of people, water, trees, stones and birds," used to contact both deceased ancestors and tribal guardians, at all-night ceremonies. Kasahwa is a collection of impossible-to-find early seven inches, eight cuts spanning the period from 1974 to 1983 and representing Mbira in its purest form. None of these songs has been released outside of Africa so far. In her humble beginnings, little pointed to the fact that young Stella at sixteen would become "The Queen of Mbira" and nothing short of a national icon. Growing up on a musical diet of white American rock n' roll and country, she initially showed little interest in local traditional music. It was not until two years later, that Mbira started to ring inside her head "loud and endlessly". This overwhelming, mystical experience turned Chiweshe into an avid student of the instrument and the philosophy connected to it. But playing Mbira music was by no means a career option for women in the British colony of Rhodesia: none of the (male) musicians were willing to teach her. And, almost worse, none of the instrument makers agreed to build an instrument for a woman. Stella ended up recording her debut single "Kasahwa" (1974) on a borrowed thumb piano. "Kasahwa" made Stella a local sensation. After the country had become independent in 1980, Chiweshe started to tour internationally, first as a featured soloist of the new National Dance Company of Zimbabwe, and later under her own name. New mastering by Nick Robbins.
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LP
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GB 061LP
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$23.50
PREORDER
RELEASE DATE: 9/21/2018
LP version. 180 gram vinyl. Includes download code. A collection of early singles by the renowned Zimbabwean Mbira master and a true African music icon, Stella Chiweshe. The songs were mostly recorded in the 1970s, during the buildup to the Chimurenga revolution, and were only ever released in Stella's home country. Stella's album Kasahwa: Early Singles offers a fascinating introduction to the world of Mbira, with the term not only referring to the instrument, but also to a musical genre -- and on a much wider level, to an entire culture and deeply spiritual lifestyle at the core of the young Zimbabwean nation. Mbira is an ancient mystical music which has been played for over a thousand years by the Shona people. Mbira pervades all aspects of Shona culture, both sacred and secular. Its most important function is as a "telephone to the spirits of people, water, trees, stones and birds," used to contact both deceased ancestors and tribal guardians, at all-night ceremonies. Kasahwa is a collection of impossible-to-find early seven inches, eight cuts spanning the period from 1974 to 1983 and representing Mbira in its purest form. None of these songs has been released outside of Africa so far. In her humble beginnings, little pointed to the fact that young Stella at sixteen would become "The Queen of Mbira" and nothing short of a national icon. Growing up on a musical diet of white American rock n' roll and country, she initially showed little interest in local traditional music. It was not until two years later, that Mbira started to ring inside her head "loud and endlessly". This overwhelming, mystical experience turned Chiweshe into an avid student of the instrument and the philosophy connected to it. But playing Mbira music was by no means a career option for women in the British colony of Rhodesia: none of the (male) musicians were willing to teach her. And, almost worse, none of the instrument makers agreed to build an instrument for a woman. Stella ended up recording her debut single "Kasahwa" (1974) on a borrowed thumb piano. "Kasahwa" made Stella a local sensation. After the country had become independent in 1980, Chiweshe started to tour internationally, first as a featured soloist of the new National Dance Company of Zimbabwe, and later under her own name. New mastering by Nick Robbins.
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LP
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MAR 004LP
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Mad About Records present a reissue of Toni Tornado's legendary funk soul album, from 1972. Toni Tornado is a black Rio masterpiece, reissued here for the first time on vinyl. Son of a Guyanese father and a Brazilian mother, at eleven years old Toni ran away from home and ended up in Rio, where he made a living selling peanuts and shining shoes. Tony began his artistic career in the 1960s with the stage name Tony Checker, lip-synching and dancing on Jair Taumaturgo's Hoje é dia de Rock. In the 1960s, he traveled to the United States, where he lived for five years in New York, serving as a drug dealer and pimp, whilst pretending to be an employee of a car wash. At that time, Tony met another Brazilian in the form of singer Tim Maia. Back in Brazil, he worked in the group of Ed Lincoln and also sang under the pseudonym Johnny Bradfort, the owner of the club forcing him to pretend to be a foreigner. In 1970, he adopted the name with which he came to be known, Tony Tornado. Influenced by James Brown, Tony was one of the artists who introduced soul music and funk into Brazilian music. Brown's in-your-face approach to racial pride resonated in the ghettos as well as the slums abroad. Many black people, all around the world, embraced the consciousness and music of the black power movement. Working-class black cariocas (residents of Rio) of Zona Norte began using the English phrases "black power", "brother", and "black is beautiful". They played soul records at their bailes (dances) and incorporated the lyrics and sounds into their music. Maia, the godfather of "música soul", spent five years in the United States, coming to know the sounds of black America intimately. When he returned to Brazil in 1964, Maia incorporated these influences into his songs. By the 1970s, other Brazilian musicians, such as Tony Tornado, Banda Black Rio, Cassiano, Gerson King Combo, Jorge Ben Jor, and Gilberto Gil had begun making soul records. This new music spoke to an experience both universal and unique at the same time. By the end of the 1970s, funk and disco would take over where soul left off, but it was the latter that helped to shape a generation of artists around a universal black identity. 1970s "paste-on" packaging and obi; Edition of 500.
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CD
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LIVST 006CD
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$19.50
PREORDER
RELEASE DATE: 9/7/2018
Livingstone Studio present a reissue of Gboyega Adelaja's Colourful Environment, originally released in 1979. Fresh from touring with Hugh Masekela -- The Boy's Doin' It (1975) -- Gboyega Adelaja goes into the lab to drop heavy keyboard science on his Moog and Fender Rhodes. Its Joe Sample meets the Afro funk of BLO. With names like Jake Sollo on guitars, Mike Odumusu (BLO, Osibisa) on bass guitar, and Gasper Lawal on percussion, this is a top quality, Afro funk -- an all-stars affair that shines from the inspired interventions, masterly arrangements to the sublime production.
Adelaja on the period of recording: "I was already following Hugh Masekela when I met him, he was an outstanding musician and I knew of his collaboration with Hedzoleh, that band brought him nearer to many of us, because he was playing authentic African melodies with the Hedzoleh sound which was mostly percussion oriented. Yes I knew about Hugh's music before I met him. In fact when we started playing together, he insisted that I stay with him in our three bedroom apartment, other members of the band had their own apartments, but Hugh and myself shared the same three bedroom apartment". "We were touring, under Casablanca owned by Neil Boggart, we toured as professional musicians, flying to our gigs. There was a time when we were touring with George Clinton and Parliament Funkadelic we had two luxury buses deployed for our use. We made many friends where ever we went to play, we met many big and popular musicians who came to watch our shows, the Spinners came to see us in Detroit, we met Wayne Shorter of Weather Report, Freddie Hubbard, we played a gig with Herbie Hancock at the Carnegie Hall New York City, we toured almost all the 50 States of the US."
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