'In this 1985 release, composer/guitarist/singer/author Bebey used finger-piano, African flute, percussion and electric bass to draw on the whole range of African music today: traditional vocal styles [including an extraordinary 'double-voice' technique], Ghanaian flute, soukous basslines. The Boston Herald called Akwaaba "one of the most amazing and beautiful records I have ever heard.' ~ John Storm Roberts
a much needed interwebular upgrade of this seminal, desert island disque, which radically altered my perception of 'world music' & my relationship to it. a total game-changer. we encourage you not to miss the similarly stunning African Sanza over at freedomblues. special thanks to spinning fer the engaging booklet skans
A1. Civilisation in the World A2. Free Me Now A3. Tolambo Funk
B1. Let Me Hear Them Say B2. Get Together B3. Shifty Hand Woman
recorded at Lagos EMI Nigeria in 1978 on a 16 channel mixer
'Rare late 70s Afro soul from Cameroonese bassist and singer Brigth Engelberts – insistent, hyponotic and danceable grooves that points the way to myriad trends in soul in the decade to come, well beyond easily categorizable Afro funk & soul! Some numbers have a punchier, hypnotic rhythmic dynamic, others steer a bit closer to a psych soul vibe! The groove is fairly tight, with Engelberts backed by keys, drums, congas & other percussion, and some horns, and it's plenty funky!'
'Of the many compilations of township jive [or mbaqanga] recordings that hit the American and European marketplace in the late '80s following Paul Simon's blockbuster Graceland album, this is surely one of the best. Subtitled "Modern Roots of the Indestructible Beat of Soweto," it rides the coattails of that very successful album but also stands well on its own. The Kings and Queens of Township Jive prominently features two of South Africa's finest and most popular ensembles, the Soul Brothers and the Mahotella Queens [both with and without their male frontman, Mahlathini]. Several of the other featured artists are singers in the "groaning" style that Mahlathini popularized - Mbazo's 'Okwami Okwezandla' and Abafana Baseqhudeni's gorgeous 'Mubi Umakhelwane' both come clearly from that tradition, especially the latter, which features multiple voices in the basso profundo groaning range. There are also a couple of examples of instrumental "sax jive." This album is just about as good an introduction to South African pop music as you could hope for.' Rick Anderson
hopefully zulu jive needs no introduction but if you aint familiar with the life-affirming flavour that seems to effortlessly emanate from early mbaqanga jams, this is a fine place to start & one that seems to get relatively little acknowledgment on the greater interwebs. 320 rips later
A1. Yio Si Da Miliki Beat A2. Afro Instrumental A3. Osika Ranti
B1. Buje Buje B2. Aseni B3. Kete Kete Koro
'Orlando Julius has been a well known name on the West African music scene all through the 1960s and 70s. His early work was recorded in the Philips studios under the strict supervision of their house producers who were putting an emphasis on a pleasant and swinging sound that was jugging along in a pleasant way, bridging big band highlife music with American soul.
In 1972 & 1973, Orlando Julius and his band The Afrosounders visited the legendary ARC studio of Ginger Baker and what OJ and the gang put to tape there was an entirely different beast: They recorded and album packed with unadulterated, funky Afrobeat of the heaviest caliber For the first time, Orlando and the his band were able to really let loose and showcase their full power with an unfiltered impact. They laid down six epic tracks that from a Funk or Afrobeat perspective definitely count as Orlando's strongest work but it seemed that Philips were not too happy with this result. They completely botched the distribution of this record and while Orlando's earlier and later work has all been re-issued over the past years, sometimes multiple times and from various international labels, this, his best record has remained under the radar and virtually unknown to the worldwide community of African music lovers.'
1. Selailai [Attractive Woman] 2. Mokoka [Stamina] 3. Ba Bakoto [The Right Ones] 4. Dikhomo [Cattle] 5. Leselesele [A Thief] 6. Jive Makhona [Makhona Dance] 7. Mantshi [A Lot Of] 8. Kgarebe Tsaga Mothusi [Mothusi's Daughter] 9. Thonthodi [A Litter] 10. Nyalo Ea Tshwenya [Marriage Is A Problem]
'Mahlathini and the Mahotella Queens were formed in 1963 at Gallo Studios; Mahlathini was the King of the Groaners, the Queens studio singers at Gallo for many popular artists (leader of the Queens, Hilda Tloubatla, also recorded tracks for the S.A.B.C. (South African Broadcasting Corporation) in the 1950's. After just eight years together with the backing band, the one and only Makgona Tsohle Band, the group split and a group of four understudies starting recording with fellow group Abafana Baseqhudeni under the Mahotella name - they produced one album, "Izibani Zomgqashiyo" of 1977 but Mbaqanga fans refused to buy the product. The original Queens, Hilda Tloubatla, Nobesuthu Shawe, Mildred Mangxola, Joyce Makhanya, Paulina Zulu and Thoko Nontsontwa (only the first four are shown on the album cover) rejoined Mahlathini and this album was the result.
"Marriage Is A Problem", sung in Sotho rather than Zulu, is a marvellous piece of work, with such classic tunes included; "Kgarebe Tsaga Mothusi", later recorded as "Thuntswane Basadi", features Mahlathini doing what he does best - growling! - whilst the last track "Nyalo Ea Tshwenya" features the Queens performing alone. The lyrics say "Marriage is a big problem, we thought we couldn't return but we have... we are touring all over the place, promoting our music."
As a bonus, the track "Mantshi" is a non-vocal track by the Makgona Tsohle Band, with a wonderful accordian lead, with the late Marks Mankwane, Joseph Makwela and Vivien Ngubane providing excellent guitar rhythm. A great "jive-tastic" album featuring THE professionals in Mbaqanga music. '
'Tse Hlwahlwa Tsa" was a Sotho-language "Best of..." series that Gallo/Mavuthela put out in the early 1980s. Each of their mbaqanga/soul artists had one of their own "Tse Hlwahlwa Tsa" releases, but oddly enough, the Mahotella Queens had two of them. I guess this is where the confusion lies! The first album featured songs recorded between 1970 and 1980, and the second album featured songs recorded between 1967 and 1975. Here are further details about the 2nd album to clear up any confusion:
Release date: 10 October 1983 Label: Gumba Gumba BL 456
B1) Selailai B2) Thonthodi B3) Nyalo Ea Tshwenya B4) Kgarebe Tsa Ga Mothusi B5) Mokoka B6) Leselesele
The second album was later re-released in the USA in 1991 by Shanachie Records under the title "Marriage is a Problem" [the English translation of 'Nyalo Ea Tshwenya']. 'Nyalo Ea Tshwenya' was originally released in 1975 on 45 rpm. There was no album released in 1975 with the title 'Marriage is a Problem'." ~ Nick Lotay
granted, the cover looks like ass, but vintage queens are no joke. further
01 Une Famille De Siamangs / Family Of Siamangs 12:37 02 Un Couple De Gibbons / Pair Of Lar Gibbons 3:34 03 Un Couple De Gibbons / Pair Of Lar Gibbons 4:04 04 Un Couple De Gibbons / Pair Of Lar Gibbons 3:19 05 Un Orang-Outan Mâle / Male Orang-Utan 2:11 06 Un Orang-Outan Femelle / Female Orang-Utan 2:38 07 Un Harem De Nasiques / Harem Of Proboscis Monkeys 2:05
Afrique / Africa
08 Une Bande De Chimpanzés / Group Of Chimpanzees 2:10 09 Une Famille De Gorilles De Montagne / Family Of Mountain Gorillas 2:15 10 Un Babouin Chacma / Chacma Baboon 1:01 11 Une Troupe De Babouins Cynocéphales / Group Of Yellow Baboons 3:37 12 Une Troupe De Singes Verts / Group Of Vervet Baboons 2:16 13 Une Bande De Colobes Satan / Group Of Black Colobus 6:15
Amérique Du Sud Et Centrale / South And Central America
14 Deux Hurleurs À Manteau / Two Mantled Howlers 4:00 15 Un Groupe De Hurleurs Roux / Group Of Red Howlers 1:51 16 Un Groupe De Hurleurs Noirs / Group Of Black Howlers 2:01 17 Un Couple De Hurleurs Noirs / Pair Of Black Howlers 1:20
Madagascar
18 Un Groupe De Lémurs Catta / Group Of Ring-Tailed Lemurs 1:08 19 Une Famille D'Indris / Family Of Indris 1:50 20 Un Indri / An Indri 0:44 21 Des Familles D'Indris / Families Of Indris 2:43
Rec By - A. De Maximy [tr: 8] , Bill Gunn [trx: 20-21] , Bruno Tarière [tr: 9], Catherine Bouchain [tr: 13], D. Tombs [trx: 18-19], Eloisa Matheu [tr: 14], Jean C. Roché [trx: 1-4, 10-12, 15, 17] , M. Todisco [trx: 5-7)], Michel Rodolfi [tr: 16], N. Tucker [trx: 18-19], P. Barbeau [trx: 5-7]
'This is the first time ever CD featuring the voices of apes, monkeys & lemurs. These mammals, at the pinnacle of evolution, are closely related to man. The listener of this CD will discover the songs of pairs of Gibbons and of families of Siamangs: certain zoologists see in them a primitive form of “music” in the human sense of the term. This volume includes examples of the calls of monkeys and apes from Asia, Africa, Madagascar, and south and central America, as well as that of Lemurs, put together here for their aesthetic, even “musical” quality.' ~ Jean C. Roché & Patrick Frémeaux
way out 'ambiances' from our primate relatives as lovingly captured by Jean-Claude Roché & his capable crew. 320 rips
'Now Again Records is proud to present an album entitled Dark Sunrise, an anthology of Zambian Zam-Rock godfather Rikki Ililonga and his groundbreaking band Musi-O-Tunya. The anthology surveys Musi-O-Tunya's rarely heard 7 singles not just the first psychedelic rock music, but the first pop music independently released in Zambia, their debut album 'Wings of Africa' & follows Ililonga's solo career in its first stages, with his 'Zambia' and 'Sunshine Love' albums. While global psychedelic rock and funk enthusiasts have recently been introduced to Zam-Rock via Now Again and Shadok's re-issues of the likes of Witch and Amanaz's early albums, 'Dark Sunrise' stands as the definitive document that, both musically and in prose, shines light on this African musical hotbed. 'Dark Sunrise' contains 31 tracks that can be distilled to simple descriptions: driving music characterized by James Brown's raw funk, combined with the fuzz guitar sounds of Jimi Hendrix and the polyrhythms native to this African nation. But this neglects to mention Musi-O-Tunya and Ililonga's otherworldliness. Sure, the majority of their work is performed in English, but this is unique psychedelic rock/blues/rumba/folk/funk music, the likes of which has rarely been heard outside of Zambia's borders.'
31 trax of fuzzy zambian psych & one of the most anticipated publications of the year, along with the Jim Sullivan re-ish. i believe brother owl would want me to fly the freak flag for this one & strongly encourage you support the artist & label. zam-rawk love. 320 rips!
A1. Music For The Buma Dance (Musique Pour Accompagner La Danse Buma) A2. Hut Song - Chanson De Hutte A3. Orycterope & Pangolin (Sung - Fable - Fable Chantee) A4. Song For Gathering Mushrooms (Chanson Pour La Cueillette Des Champignons) A5. Song To Atract Game (Chanson Pour Attirer Le Gibier) A6. Music For The Nganga Dance (Musique Pour Accompagner La Danse Nganga)
B1. Lullaby - Berceuse B2. The Water Drum - Le Tambour D'eau B3. The Humming Of The Bees - Le Bourdonnement Des Abeilles B4. Music For The Buma Dance Musique Pour Accompagner La Danse Buma
Recordings & text by Simha Arom and Patrick Renaud, 1975
Featured here are several superb field recordings by ethnomusicologist Simha Arom, whose documentation of pygmy polyphony continue to be pivotal points of reference for contemporary composers. György Ligeti, whose fascination with 'the other' as a source of musical inspiration stated:
Having never before heard anything quite like it, I listened to it repeatedly & was then, as I still am, deeply impressed by this marvelous polyphonic, polyrhythmic music with its astonishing complexity. For composition, [Arom’s research] opens the door leading to a new way of thinking about polyphony, one which is completely different from the European metric structures, but equally rich, or maybe, even richer than the European tradition.' source
Highly inventive and constantly changing, the vocal polyphony and the polyrhythmic sounds of hands and drums are prodigious achievements which astonish contemporary composers. The art of the Pygmies is fascinating for its ingenuity on all occasions, even when children play in the river and clap their hands rhythmically on the surface of the water.
a superlative snapshot of everyday life in the baka pygmy realm circa 1975. at this stage in my development, i've heard enough pygmy musique to be able to discern what i consider the really remarkable recordings & this one's a bona fide head swirler, friend. i figure if more folks played 'water-drums', fings might start looking up for our species. remerciements à zwan et l'idiot. 320 polyphonic portals to pygmy paradise
A1. Moshi 17:00 A2. Guilde's Song To Binkirri 2:55
B1. Gardenia Devil 6:00 B2. 14 Temps 4:50 B3. Bamako Koulikaro 3:50 B4. Afrika Freak Out 6:20
C1. Zombizar 7:20 C2. El Hadji 0:24 C3. Chechaoun 12:00
D1. Tindi Abalessa 10:25 D2. El Hadji 1:00 D3. Balandji In Bobo 3:06 D4. Sannu Ne Gheinyo 5:20 D5. El Hadji 0:20
Barney Wilen - tenor sax Michel Graillier - electric piano Pierre Chaze - guitar Simon Christian Tritsch - electric bass Micheline Pelzer - drums Didier Leon - takamba - oud Caroline de Bendern, Marva Broome, Babeth Lamy, Laurence - vox Composer - Barney Wilen [trx: B1, B4, C1, D4], Caroline De Bendern [trx: B1, C1, D4] Producer - Pierre Barouh Recorded By - Daniel Vallancien
Gatefold cover. Recorded in Studio Saravah. "Gardenia Devil" is taken from a poem of the chinese people. All other uncredited composed by tracks based on traditional folk songs.
'In 1970 Barney Wilen assembled a team of filmmakers, technicians and musicians to travel to Africa for the purpose of recording the music of the native pygmy tribes. Upon returning to Paris two years later, he created Moshi, a dark, eccentric effort fusing avant jazz sensibilities with African rhythms, ambient sound effects and melodies rooted in American blues traditions. Cut with French & African players including guitarist Pierre Chaze, pianist Michel Graillier and percussionist Didier Leon, this is music with few precedents or followers, spanning from extraterrestrial dissonance to earthbound, streetlegal funk.Wilen pays little heed to conventional structure, assembling tracks like 'Afrika Freak Out' & 'Zombizar' from spare parts of indeterminate origins' ~ amg
'A wild and groundbreaking record recorded by the great French tenor player Barney Wilen! Although he got his start as a bebopper in the 50's, Wilen sort of dropped out of sight by the end of the 60's and only emerged from time to time to cut strangely experimental sides. This record is unlike anything he ever made, and features a wild mix of African rhythms, ambient sound, and Wilen's deep deep tenor. By this point, Wilen had been absorbing a lot of different influences, from Coltrane, to Pharoah Sanders, to some of the European free players, and his sound is a weird mish mash of styles that weaves in and out of all the stuff on the record. It's a haunting bit of afro jazz & funky noise, with some cuts that are spacey, and others that are nice and funky.' ~ dusty
lately when i make a new jazz discovery, assimilate the sounds & decide i might wanna spread the gospel to you good peeps, a quick search in the engine reveals many a classique joint was owlready ushered into interwebular consciousness by one of several seminal jazz blawgs, whose illuminating arkhives will spread yer awareness like a fan. unfortunately, i seem to be about 3 years too late on some of the links when i trawl thru the backpages, but occasionally stumble upon a few rips in a roundabout way. thus, i am excited to bring you yet another pearl from the essential orgy in rhythm dustbin, on the groundbreaking saravah imprint. bacoso sez: 'Completely bonkers mash up of afro to free jazz with field recordings and vocal harmonies - out there and all the better for it. Recommended.' & eyed hafta humbly concur with that assessment. dear professor leary from a few years earlier comes highly recommended as well. 320remerciements à la révélateur d'origine. further
Recorded in Kumasi, Ghana between March 20 & April 15, 2000
'In Ghana it was the Kru-taught musician Kwame Asare [Jacob Sam] whose Kumasi Trio made the first recordings of 'palm wine music' in 1928 when they went to London to record for Zonophone. This session also included the first recording of the famous song 'Yaa Amponsah' which provided one of the most enduring and important melodo-rhythmic riffs found in Ghanaian highlife.
When the costal Fante-style music moved inland into Asante and Kwahu during the 1930s it blended with the music of the local seprewa harp-lute. The result was a more Africanised or rather Akan variety of palm wine guitar music known as 'Akan Blues' or 'Odonson.' It was sung in a recitative way rather than in structured verses using African modal progressions [between two tone centres a full tone apart] rather than the western harmonic progressions [I, IV, V chords] of the earlier costal style. These small palm wine guitar bands consisted of just one or two guitars accompanied by 'clips' [i.e. claves], 'Adakam'[wooden box as drum], and Gome [giant bass frame drum] or 'Premprensua' [hand-piano].' ~ John Collins
'Palmwine is a local drink. In villages you find, under a shady tree, in the afternoons old men would relax and be telling stories about life. Marriage experiences, disappointments. Now, at that time seprewa was the instrument, the African harp-lute. And the seprewa player might be sitting around, then a palmwine tapper would bring a pot of palmwine, usually identified by the foam on top. Then the calabash is passed round and they drink of palmwine. Now the music that is played under that environment was called palmwine guitar music. In this way, acoustic and folklore Highlife music inherited its name from the fact that it gained its popularity at Palm Wine bars, which symbolically represented music of the masses.' ~ Koo Nimo [palm wine musique legend]
i know i've been neglecting mama africa lately, but fortunately there's plenty of other bloggies holdin it down. just peep the sweetspots in the sidebar fer proof positive. dunno much about palm wine except that it's a sweet name for a style & some super sublime musique that soothes my savage soul. eyed love to sample the elixir after slaving away in the blazing noonday sun. the Kumasi Trio are a recommendable point of reference for these tunes, but this recording is equally essential & just gets better with age, like a fine palm wine? my only minor gripe is that the vocals are a bit close-mic'ed in contrast to the gorgeous guitar which can sound comparatively distant on occasion. 320 gentle breezes
A1 Introduction A2 Home Town A3 You Better Know A4 Feeling High A5 Like A Chicken
B1 See Your Mama B2 That's What I Want B3 Try Me B4 No Time
freshest Zamrawk band in the universe & likely our most downloaded drop ever. many a re-up request later, at wrong wrast here ya go. now show some fuggin appreciation ya skallywags. over 3000 downloads last go round & only a coupla comments, most of which was re-up requests, wtf? that aint bonin! :) i feel sorry for folks who share musique fer external gratification, but everyone likes a lil appreciation. daps to those who take a moment to spread some cheer in deez dark daze of entitlement & greed. my goodwill is directly correlatable to the levels of love in the air. 320 tanx to digital jesus fer da hookup
'Le Kéné-Star De Sikasso were, as you might have guessed, from the southern most region of Mali known as Sikasso. They originally started out as Orchestre Regional de Sikasso, and released two albums, the first one in 1968 on Republic du Mali Radiodiffusion Nationale, and the second in 1970 on Bärenreiter-Musicaphon. They also were included on a 1973 compilation called Panorama du Mali on Mali Music.
The album that is posted here, their only release credited as Le Kéné-Star De Sikasso, was later re-issued on cassette in the Eighties, and was entitled Lala. The members of the band for this recording were François Ballo, Cheick Sabibou Diabaté, Mamadou Diakité and Mamadou Touré among others who are uncredited, and was produced by Boubakar Traoré. Also, the first song on this record, 'Hodi Hu Yenyan', as well as the two songs from the Panorama du Mali compilation – along with songs by Orchestre Régional de Kayes and Super Djata Band – were included on the Mali 70 – Electric Revolution compilation released by Syllart Productions.' ~ Stuart
just found this one recently & the little info i could glean about the line-up is transcribed from the flip of the lp. the rest is shamelessly cribbed from the esteemed radiodiffusion internasionaal annexe. hopefully more edification forthkommen. 'lala' on side b is alotta fun & makes this slab worthwhile in my humble estimation. 320 thanks to the originilluminator
A1. Hear The Musik A2. Plastic Feelings A3. Lead Me Thro'
B1. Jump Back [Comm' Of The Fireballs] B2. Medley/Solitude/Weariness B3. Come Show Me The Way
Lead Vocals - Vera Anaja Con'A Lead Vocals, Guitar - Tunde Oyecan Guitar, Backing Vocals - Funso Kupoluyi , Victor Okandeji Guitar [Effect] - David Banjo Bass Guitar - Emanuel Azubike , Ernest Coker Drums ~ Tokunbo' Awosika Tambourine, Backing Vocals [Bass] - Tunde Adenuga Engineer [Recording] ~ Sameed Ahmed Producer - Victor Emman Okandeji
Recorded at The Iyanda Records Industry, Ibadan, Nigeria in the late 1970's Original released on Iyanda Records Industry [IRI 127] Nigeria in the 70s
'Rare funky soul & rock from late 70's Nigeria – the only record we've ever seen from Disco Blaze – coming with a world of influences and a heck of strong groove! Disco Blaze does indeed have some western dancefloor soul influences in the mix – the bass and drums work together in an insistent groove, but there's some headier sounds at play, too. The electric guitars stand out wonderfully and with some audible psyche funk influences and overall the album works in a danceable funk rock mode, but they do slow it down when the mood strikes. Long instrumental passages, but there is some singing, in English.' ~ dusty
'Total WTF record from Nigeria. One copy dug up in 2008 & went for about 800 smackers. Furry, backasswards fuzz guitar, drums sometimes mixed way too high [likely under the influence of late 70s disco 12 inches]. There's also a couple of ballads with shaky, fragile femme vocals, but the backing continues to be slathered in wah & effects. As to why the guy on the front has fangs & bats flying around his head? Uh, you got me, buddy. Fans of Chrissy Zebby Tembo, you've found your next stop.' ~ Weirdo Recs
been wondering about this bizarre record for a good minute now. we finally laid our ears on the thang & it don't disappoint. the re-issue is wicked pricey too, likely cuz the proprietors of african sun records had to break piggy for an original copy of this lp, or so twood seem. to the readers of this blog who continuously pass along yer fascinating finds for the benefit of everyone, this one goes out to you. we strive to keep our relationship symbiotic, on the mutuallistically beneficial tip. awareness is crucial & it takes a global village. 320 heartfelt daps to freethesoul for this winning slice o' funktified outsider nigerian fuggery
Tanzania. Songs of the Wagogo and Kuria [Tanzanie - Chants des Wagogo et des Kuria] Inedit W 260041, recorded in Paris 1992, CD released 1992
1. Wagogo song - Sote Tulifurahia Kama Siku Ya Arusi 2. Wagogo song - Mhilime Magongo 3. Wagogo song - Ngayagawa Mlungu Yamanyile 4. Wagogo song - Wababa Mwalolawa, Kama Nyinyi Baba Nasi Tumekuwa 5. Wagogo song - Lusungu Ya Mwana 6. Wagogo song - Dunia 7. Kuria songs - Parepa murapa wetu; Tarime na musoma...
riots a1. hamma ba a2. balankula a3. dalua a4. bantamba kuyateh
b1. jimbasengo b2. masaane siise b3. tutu jara b4. fa banta toure
another fabulous/forgotten gem of mandinka kora musique buried deep in the early virgin catalogue, bach when virgin were actually doin sumptin real. this album coincided with the fam's tour of europe that year. anyone know if these cats are related to lamine konté? it seems plausible that in gambia the surname 'konte' might be like 'khan' in india or 'smith' in the states. also it hadn't occured to me that the kora could look so phallic until i seen these fellas smiling on the cover :) anyhu, 320 thx to uzima for this easy breezy beautiful vinyl rip
05. Betsimisaraka morceaux tromba: Volamena and Volon’aomby 06. Tromba music on valiha 07. Sompatra 08. Tamby Tambazo vady 09. Tromba performance on valiha 10. Izao No Zavatra Nikasaina 11. Bastos
'The tromba possession ceremonies of the Betsimisaraka and Antandroy in the area of Tamatave on the east coast of Madagascar provide occasions for communication between the living and ancestral spirits.
Musique is crucial to these performances since powerful ancestral spirits will not appear unless attracted by masterful musical performances, and so music itself provides a complex symbolic system with which Malagasy can recall and reconstruct the past. The eleven tracks of this album are examples of the mastery of the musicians playing instruments such as the zither-like valiha, or maro tady as the Antandroy call it, the akordogna (accordion) or the rattle kaiamba. These instruments are vital components for the creation of the Maresaka sound aesthetic typified by a density of sonorities, rhythms, textures, and timbres. Maresaka is characteristic of these performances, which connect the living and the spirits of their ancestors.'
a jubilant collection of field recordings for trance & happily communing with ancestral spirits by virtue of squeezebox song & valiha workouts. these merry melodies are a bridge to the beyond like only the best musique can be & if more contempo 'psychedelic' bands put it down like this, i wouldn't hesitate to champion them too :) 320 + booklet. much love to brother Miguel for sharing this psychoactive sonic nectar
01. unknown - thum nyatiti solo 02. chemutoi ketienya & girls - chemirocha [jimmy rodgers] 03. barack omondi & party - mary apondi 04. dick ngoy & party - elias odede 05. jimmy amukamua - khukhava minyinzi 06. wilson labso & party - kigyokte 07. john oriem & brothers - tereranga 08. peter kimuri & patrick roy roger - kirinyaga ni igai retu 09. francis macharia - gikuyu na mumbi 10. francis macharia - wanjiru wanjiru 11. elijah ishmael - jumbe nipeleke kwetu 12. humphrey eshitool - jirani na waganga 13. humphrey eshitool - safari kibosho 14. herbert misango - msichana auma 15. herbert misango - wazee wa kisa 16. w. john odole - tumshukuru mungu 17. w. john odole - kerena 18. willamu osale - usimalize mali 19. willamu osale - vijana niambie 20. edouardo masengo & bernard mwale - hata unacheza 21. nairobi shoeshine boys - mtoto analia mana yuko waoi 22. joseph ndato & daniel katuga - nikuelezeje 23. esther john & fadhill william & ben nicholas & fundi kondi - mwana mali wa maridadi 24. daniel katuga & fundi kondi - ewe nyota zuhura 25. wayo trio w. fundi kondi - sitakwenda lena dar es salaam
RE-UP of this superlative compilation, featurng the unplugged jams. be chure to peep the previous posts on Original Music if ya slept. thx again to spinning
[A-01] Banga Imana (Roger Izeidi) 3:06 Roitelet et Roger [A-02] Imana Ya Daring Monian A. MA. Mulumba) 2:47 Roitelet et Roger [A-03] Bolingo Esuki (Longomba Victor) 2:43 Victor et Roger [A-04] Dusana Moke (Fylla Guy Léon) 2:53 Roitelet et Roger [A-05] Kobanga Te (Yamba Yamba Albert) 2:48 Victor et Roger
[B-01] Josephine (Armand dit Brazzo) 2:53 Victor-Roger-Franco [B-02] Antoinette (Momiana Agustin) 3:07 Les Trois Caballeros [B-03] Tozo Na Bozo (Momiana Agustin) 3:03 Roitelet et les Chrs CEFA [B-04] E Ya Yo Nlala (P.A.I.) 2:35 Salvador [B-05] E Ndumba Sakuba Wata (P.A.I.) 2:55 Salvador
ack, it's entirely too hot for physical lay bore so i'm taking another break. luckily we have this stellar collection of congolaise rumba pioneers from the 50's to create an imaginary breeze for our ears. another instance of imaginatively ingenuitive cover art threatening to outshine the musique? more from this amazing series may be harvested hither & thither. 320 thanks to the venerable op for availing us these 'wonders of the past'
01. Fundi Konde - Wekundu Si Hoja 02. Jim Lasco - Samueli Ndeje 03. Jim Lasco - Baba Kumbuka 04. John Wijenje - Mtoto Kukosa Masomo 05. Edward Nandwa - Ofafa Jericho 06. Edward Nandwa - Wanajiita Sisi Wahuni 07. John Mwale - Wandugu Mnisaidie 08. John Mwale - Shirikisho la Africa 09. Nashil Pichen & Peter Tsotsi - Mulofwa Mmoja 10. Nashil Pichen & Peter Tsotsi - Jane Umrongo 11. Nashil Pichen & Peter Tsotsi - Goodbye & Farewell 12. Nashil Pichen, Peter Tsotsi & Equator Sound Band - Mpenzi Nimerudi 13. Fadhili William & the Black Shadows - Malaika 14. Fadhili William & the Black Shadows - Hakuna Mwingine 15. Fadhili William & the Black Shadows - When You Visit Taita 16. Adolph Banyora & African Beat Jazz - Niko Pekee 17. Daudi Kabaka & George Agade - Helule Helule 18. Daudi Kabaka & George Agade - Western Shilo 19. Isaya Mwinamo - Ukosefu wa Kazi 20. Isaya Mwinamo & his Merry Men - Bamba ya Afrika 21. Isaya Mwinamo - Nimeacha Ulevi Catherine 22. Isaya Mwinamo - Lipa Kodi ya City Council 23. Isaya Mwinamo - Kipchoge Keino Amefaulu
happily continuing the demystification of mississippi records' piratical proliferation. this is olde news to many, but it seems a lot of kids still don't know, so here goes another piece of the 'puzzle'. there's simply no reason not to dig the roots if yer feelin the fruits. curated by John Storm Roberts, himself one of my favourite kind of pirates. liner notes included. shout out to spinning
