• 01. Intro
    02. Oooh Na Na
    03. Drama
    04. Funal Alafia Ahshay
    05. Shallow Water
    06. Indian Red
    07. Eh Paka Way
    08. Roll Call

    79ERS GANG

    Fire on the Bayou

    [engl] The 79rs Gang are Big Chief Romeo from the 9th Ward and Big Chief Jermaine from the 7th Ward, both of whom come from a lineage of Indian heroes and musical talent. After years of competition, they decided to collaborate to tell a unique story about past heroes, sewing and the foundations of Indian culture. With their deep knowledge of tribal history, these young Big Chiefs bring a fresh perspective and musical power to the traditional songs of the culture as well as their originals.
  • 01. Giannis Hasiklis (Yannis the Hash Smoker)
    02. Kaike Ena Scholeio (A School Was Burned)
    03. Troumba
    04. Isouna Xipoliti (You Were Barefoot)
    05. Dertlidhikos Horos
    06. Stin Ypoga (In The Basement)
    07. Ap' Tin Porta Sou Perno (I Pass By Your Door)
    08. Toumbeleki Toumbeleki
    09. Me Pianoune Zaladhes (Dizziness Overcomes Me)
    10. Touto To Kalokeraki (This Summer)
    11. Adinatisa O Kaimenos (I Became Thin)
    12. I Fylaki Einai Scholeio (The Jail's a Fine School)

    A. Kostis

    The Jail's a Fine School

    [engl] Back in print!!! Groundbreaking collection of the legendary “Kostis,” the most enigmatic of all Greek rebetika artists. 12 tracks of dark and moody open-tuned guitar duets and black-humor lyrics chronicling the hash dens, prison culture and pickpockets of old Athens. Includes a 28 page booklet with extensive notes by Tony Klein (Greek Rhapsody, Mortika), full lyrics in Greek and English, and many previously unpublished photographs.
  • 01. Noches de cumbia
    02. Locura es mi cumbelé
    03. Amor zalamero
    04. Perdóname
    05. No puedo vivir sin ti
    06. Sabroso bacalao
    07. Fantasía marina
    08. Pobrecito mi corazón
    09. Mi viejo barrio
    10. Llorando por ti


    Sabroso bacalao

    [engl] Born on September 3, 1934 in the barrio of San Roque in Barranquilla, Adolfo Ernesto Echeverría Comas started singing on the radio first as a young man, forming his own conjunto and signing with various labels over the years, becoming one of Colombia’s premier band leaders, composers, interpreters and producers of tropical costeño music in the process. Among many other accolades, he is a winner of five Congo de Oro and one El Cacique de Oro awards; his holiday songs ‘Las cuatro fiestas’ and ‘La Inmaculada’ are recognized as national treasures. During his long and successful career, he has toured Venezuela, Panamá and Ecuador, and while performing in the United States was befriended by Celia Cruz and Tito Puente. Recognizing his songwriting talents, the pair asked him for a tune and he gave them ‘Salsa de tomate’, inspired by Tito’s hatred of the term, which they recorded for their “Alma con alma” release on Tico Records in 1971.By 1976, Adolfo Echeverría had signed with Discos Fuentes, where he was to remain until 1990 when he suffered a heart attack and was sadly never able to resume his career. Echeverría’s first year with the label was a great success, with his eponymous debut LP containing his biggest hit, the self-penned cumbia party anthem ‘Amaneciendo’. The following year, working again with the Fuentes hit production team of Isaac Villanueva and Hernán Colorado, Echeverría came out with “Sabroso bacalao”, sharing the vocals with Freddy Cruz and Manuel Cassiani. As with the first album, in addition to some hot, driving hardcore salsa tracks like ‘Mi viejo barrio’ and ‘Perdóname’, Echeverría made sure to include his beloved tasty indigenous cumbia and porro. In addition, the cut ‘Llorando por ti’ is in the Afro-Cuban oriza rhythm style, while ‘Locura es mi cumbelé’ is described as a ‘cumbelé’ (inspired by The New Swing Sextet’s 1970 song ‘Cum Cumbele’, which is a variant on the bomba, an Afro-Puerto Rican folkloric drum-based genre). Throughout this diverse genre-hopping album one can always hear the forcefully fiery piano of Hugo Molinares, who also composed the monster guaguancó track ‘Sabroso bacalao’. At the time, the LP yielded the domestic hit ‘Fantasía marina’ but in recent years ‘Noches de cumbia’ and the title track have become international tropical DJ dance floor standards across the globe, making this record a must-have for collectors, disk jockeys and aficionados of the classic Fuentes sound.
    EAN 8435008863494
  • 01. Doina
    02. Tsamiko Makedonias
    03. Rast Taxim
    04. Triantaphyllia
    05. Hitzas Taxim
    06. Seifo
    07. Ipirotiko Moiroloi
    08. Arvanitikos
    09. Skizo Rizo Mor' Panaghio
    10. Liaskovitikos
    11. Strotos Horos
    12. Ipirotiko Moiroloi


    Fire on the Bayou

    [engl] Violinist Alexis Zoumbas immigrated from the mountains of northern Greece to NYC in the 1910s, where he recorded with the great Marika Papagika before cutting his own instrumental sessions with small string ensembles. Zoumbas had the rare gift of expressing emotion so clearly and urgently through his instrument, and his violin feels like an extension of his heart, soul, and the deep musical history of his faraway home in Epirus. Zoumbas' original recordings were recently uncovered in pristine condition and have been restored in astonishingly clear and present sound quality. This new compilation features previously unissued takes and stunning solo improvisations. LP and digital versions include an 8 page booklet with extensive biographical notes, and is co-released by Orpheum Phonograph, Olvido Records, and Mississippi Records.
  • 01. Boogaloo En Ambiente
    02. La Sonora Llego
    03. Como Yo No Hay Dos
    04. Peruvian Guaguanco
    05. Congalanque
    06. Yo Traigo Boogaloo
    07. Probandolo Se Sabe
    08. Linares Blue's
    09. Sabor Tropical
    10. Tutu Tata


    Yo Traigo Boogaloo

  • 01. Dontan Modern
    02. Lam Toei Myanmar
    03. Tang Wai, My Beloved Soldier
    04. Lam Phloen Promise of Love
    05. The Khon Kaen Promise
    06. Lam Phloen Ramwong Lao
    07. You’re So Cold
    08. Never Forget Me/a>
    09. A Country Girl Waiting for Her Lover
    10. Lam Phloen for My Sarong Guy


    Never Forget Me

    [engl] "Never Forget Me" is the second release on EM Records from Angkhanang Khunchai, one of the greatest Thai singers; the original 1979 vinyl release, now extremely rare, was a collection of her self-produced songs, backed by her own band. This radically independent stance, though admirable, caused the album to languish in relative obscurity, due to her lack of support from the business masters of the Thai music scene of the time. "Never Forget Me" is a plea to her fans, and although the original album was not widely distributed, the high quality of the songs ensured that she was indeed not forgotten. Her first album, which was produced by Surin Phaksiri, was the very first of the new molam-luk thung style; the songs here continue in that vein, a mix of modern luk thung Isan and various types of molam, backed here by her hand-picked ensemble, which later disbanded due to financial pressures. Despite these struggles, "Never Forget Me" lives on, its killer tunes loved by DJs and given a 5-star rating by psych record guru Hans Pokora. Available now on vinyl and CD, with English lyrics and liner notes, this is unforgettable.
  • 01. Kwaku's Thing
    02. Funkum
    03. Iponohinime
    04. Africa
    05. Lovin' You Baby
    06. 200 To 500 Years Ago


    Free The People

    [engl] This is the 1973 solo album by Ghanaian percussionist Anthony Kwaku Bah, who was given the nickname „Reebop“ by American jazz legend Dizzie Gillespie. He passed away early at the age of 39 in Stockholm in 1983, but before made himself a name for his works with UK 70s rock heroes TRAFFIC and German Krautrockers CAN, amongst others. If you might expect here the prototypical Afro Beat and Afro Rock you mostly know from British bands, you will be surprised that this is only one part of the deal. Yes, there are African elements to be found, buried somewhere in this boiling cauldron where polyrhythmic grooves are the base for jazz improvisations by the brass section, that range from naughty swing and bebop, to freaked out free jazz and enchanting soul jazz the way it was popular in the late 60s. The arrangements are utterly lush with so much going on here in every aspect that you would get lost if there was no trace of melody to be discovered, but there they are and they tell you fantastic stories of exotic places that only exist in your wildest dreams. Kwaku Bah’s rhythm patterns grab you by the horns and pull you into a world of their own. Hypnotical, irresistible, hot and vivid. The tunes combine jazz, soul, funk and each one is constructed like a self – contained story. One could imagine these tunes being used as library music for 70s movies from action to romance. All pieces though are characterized by the constantly pulsating rhythm. To avoid drifting into the field of insubstantial disco dance music, the performances witnessed here were executed with the highest possible emotional intensity and dedication. Lay back, close your eyes and float away on a raft of sound upon the wild river of grooves and melodies. Some haunting Exotica jazz passages with a typical „jungle“ feel get thrown in for the good measure. There are even vocals in an African language hard to identify, which create and even more mysterious atmosphere. This is just an introduction part of another powerful speed funk groover but the vocals stay and make this a clear standout track. Saxophone and guitars seem to have a duel here. You will not sit still while having this tune „Iphonohimine“ coming down on you like a thunderstorm. Blues, Afro Beat, Psychedelic Rock, Funk, it can all be found in here and the band goes wild into an everlasting improvisation that deprives you of your breath. Can this record get even better? Do not ask, just enjoy what comes next. If you think that some melodies by the giant brass section sound a bit too catchy just reach out beyond these harmony lines and find yourself in a thicket of grooves, pulsations, bits and pieces of melody with a dense, sultry atmosphere. Some smaller parts might make you think of cruise ship big bands and white suits, but everybody will soon drop these and dance in their underwear for the hot blooded power funk base of the tune called „Africa“, which will take over one’s soul and set it on fire. So clean, so nice and so filthy and dangerous at the same time, this album is a masterpiece of it’s style. The exciting and very sensual funk rock of „Lovin‘ you baby“ with crazy fuzz guitars and a dark and haunting approach is another reason to kneel down when you put this record onto your turntable. Great clean lead guitars give it a latin garage rock edge Carlos Santana would commit serious crimes for. If you love bands like OSIBISA, Eric Burden & WAR, GINGER BAKER AIRFORCE, SANTANA, Miles Davis, all around 1969 to 1973, this is what you always wanted to listen to. Grab your copy now
  • 1. Fransa
    2. Tenere
    3. Alyochan
    4. Tamatant
    5. America
    6. Amghar
    7. Ariyal
    8. Taddout
    9. Ubary


    Black Tenere

    Eine Musik auf Reisen. Moderner Tuareg-Rock mit westlichen Klangelementen. Nach ihrem gefeierten Album "Tikounen" kehren Kel Assouf mit einer weiteren, ungemein bestechenden Version ihres Tuareg-Rocks zurück: "Black Tenere". Das Album wurde von dem Keyboarder Sofyann Ben Youssef, zugleich Mastermind der hochgelobten Formation Ammar 808, produziert. Bei seiner Tätigkeit brachte er das Power-Trio-dazu, sich ganz auf die knisternde Energie des nigerianischen Frontmannes Anana Ag Haroun einzulassen. Mit seinem markanten Panamahut und der archetypischsten aller Rock'n'Roll-Gitarren, der Gibson Flying V, strahlt er pure Kraft aus. Kel Assoufs musikalische Reise flossnahtlos von der Quelle der Ishumar-Wüstenrock-Pioniere Tinariwen - die Haroun erstmals als junger Musiker in Niger kennenlernte - zu klanglichen Horizonten,die den Rock-Klassizismus von Gruppen wie Led Zeppelin, Black Sabbath und Queens of the Stone Age sowie die Club-Beats und das astrale Ambiente der europäischen elektronischen Musik umfassen. Auf "Black Tenere" treibt die Band diese unterschiedlichen Texturen und Einflüsse zu einem überzeugenden, rauen Crescendo voran. "Mein musikalischer Geschmack hat sich nicht geändert, aber erwächst weiter, dank meiner verschiedenen Begegnungen und meiner Neugierde", so Haroun. "Für mich muss die Musik reisen und für andere Klänge offen sein, damit jeder die Botschaften hören kann, die sie trägt."
    EAN 4030433606810
  • 01. Özgür ruh/Free Spirit
    02. Gerekli seyler/Essential Things
    03. Erotika hop
    04. Biz size asik oldu/We Fell In Love With You(TV Version)
    05. Seksek/Hopscotch
    06. Cecom
    07. Asiklarin sözü kalir/Eternal Is The Word Of Poets
    08. Efkarli yaprak/Worried Leaf
    09. Carino
    10. Yororo kanto
    11. Bir sana bir de bana/One For You And One For Me
    12. Cöl aslanlari/Desert Lions
    13. Abdülcanbaz



    Baba Zula ist eine Istanbuler, von Levent Akman und Murat Ertel gegründete Formation, die Rock mit orientalischer Musik kombiniert und das Ganze "Oriental Dub" nennt. Spätestens seit Fatih Akins preisgekrönter Dokumentation "Crossing The Bridge" aus dem Jahr 2005 gilt Baba Zula auch in Westeuropa als progressiver Vertreter der türkischen Musikkultur. Zum Popularitätsschub im Ausland trugen darüber hinaus die Konzerte von Baba Zula bei, die in einer Art von Performance Musik, Poesie, Theater, Malerei, Videokunst, Bauchtanz und traditionelle Kostüme zu einem audiovisuellen Gesamterlebnis vereinen. 2016 feierte die Band 20-jähriges Jubiläum. Aus diesem Anlass bringt das Label Glitterbeat das Doppelalbum "XX" heraus. Dieses spannt einen kaleidoskopischen Bogen über sechs Studioalben. Allerdings handelt es sich bei "XX" nicht um eine schnöde Best-of-Kompilation, wie der Bandgründer, Sänger und Saz-Spieler Murat Ertel betont: "None of the pieces here are in their original forms. Instead, we picked remixes, re-recordings, collaborations, live tracks, all the possibilities, but none of these have been released before. And it_ÇÖs a mix of recording techniques - digital, analogue, tape, mp3."
    EAN 4030433804212
  • 01. Spinning Cotton on a Full Moon Night
    02. Lam Phloen to Soothe the Heart
    03. Promise of March
    04. Lam Phloen World-class
    05. I Won’t Move
    06. Lam Yao Salab Toei
    07. Toei from the Heart
    08. Lam Phloen Bar Girl Banyen
    09. Lam Phloen I Don’t Love You
    10. Whose Guy Is It?
    11. Lam Phloen Daen Isan
    12. Lam Toei Salab Chak


    Lam Phloen World-class: The Essential Banyen Rakkaen

    [engl] An exciting collection from pioneering Thai molam idol Banyen Rakkaen, featuring her most thrilling performances from the early to mid-70s, with innovative genre-bending arrangements and production from Thepphabut Satirodchomphu. These tracks, all originally released on 7-inch vinyl, showcase her powerful yet alluring voice, revolutionary yet rooted in tradition. Her exciting performance style was revolutionary and shocked traditionalists, but none could dispute the fact that she was a truly gifted singer, and Theppabut’s visionary production skills added to the feeling of freshness and vitality. The early 1970s saw a growing demand in Thailand for exciting and danceable music, and the recordings compiled in this release filled that demand perfectly. Banyen was one of the great singers of that era who propelled Isan music to nationwide popularity. A true star who in 2013 was designated a living national treasure, Banyen stole hearts with these hard-driving hits, while inspiring a new generation of aspiring singers. Banyen will now steal your heart -- on CD or 12-inch vinyl. Cover art: Shinsuke Takagi
    EAN 4560283217749
  • 01. Superwoman
    02. Trip To Nowhere
    03. Jamaica
    04. I've Got The News
    05. Falling Apart At The Seams
    06. That's What I Get
    07. Bluestrain
    08. Jump In The Water
    09. Bahamian Boogie


    Beginning Of The End

    Gleich mit ihrem Debütalbum "Funky Nassau" feierte das von den Bahamas stammende Trio Beginning Of The End, bestehend aus den Brüdern Ray, Leroy und Frank Munnings, 1971 einen sensationellen Erfolg: die gleichnamige Single schoss mit einem Mix aus Funk, Soul und Junkanoo bis an die Spitze der Billboard R_ÇÖn_ÇÖB-Charts. Die Musik- und Tanzform Junkanoo hat westafrikanische Ursprünge und ist auf den Bahamas seit der Sklavenzeit verbreitet. Beginning Of The End waren die Ersten, die diesen traditionellen, stark perkussiven Stil mit moderner Popmusik kreuzten. Ihr zweites, selbstbetiteltes Album brachten die Munnings 1976 heraus. Zu dieser Zeit wurde das Trio von Don Taylor betreut, dem Manager Bob Marleys. Dieser verfrachtete die Brüder nach Jamaika in das Studio von Byron Lee, wo sich Teddy Randazzo (Little Anthony & The Imperials) um die Aufnahmen kümmerte. "He gave us more of an uptempo jazz funk sound with Chicago-style horns", charakterisierte Frontmann Ray die Produktion. Leider war dieser trotz der grandiosen Songs kein kommerzieller Erfolg vergönnt, weil keine vernünftige Promotion stattfand: Zunächst fiel der geplante USA-Support für Marvin Gayes "What_ÇÖs Goin_ÇÖ On"-Tour aus. Dann wurde die anvisierte Ersatztour mit Bob Marley gestrichen, weil sich dieser am Bein verletzte. "Beginning Of The End" erscheint als remasterte 2LP. Die Soundauffrischung besorgten die Spezialisten von The Carvery mit Hilfe der Originalbänder.
    EAN 0730003318511
  • 01. Alpha And Omega
    02. Soul Fever
    03. Unqualified
    04. Guns For Freedom
    05. Love And Peace
    06. Get Up And Dance


    Alpha & Omega

    [engl] In the mid eighties FM radio stations took over the airwaves in Nigeria. They wanted fresh new styles to play andin creasingly radio personalities like Bisi Olatilo, Ruime Effetie and Shea Martins were turning to reggae. Nigeria’s Freak Father Number One, Benis Cletin, saw the writing on the wall and created his deeply philosophical roots reggae opus, ‘Alpha & Omega’. Benis delivered a set of songs that tapped unashamedly into reggae’s message of peace and love. The title track is a philosophical opus on the state of the world and how to live in it. ‘Unqualified’ warns against letting others tell you how to live. ‘Guns for Freedom’ is more militant call to arms, undercut by a lilting flute line from the legendary Eji Oyewole. Benis didn’t completely abandon his freaky, funky roots. ‘Soul Fever’ is a slab of synth-driven boogie and ‘Get Up And Dance’ is pure funk with that typical Benis freak edge. But overall, ‘Alhpa and Omega’ is designed to soothe the minds of the oppressed in this unjust world - an African roots reggae classic that sounded great on FM radio.
    EAN 0710473191234
    EAN 0710473191227
  • 01. A cocas
    02. I midi wall


    A cocas / I midi wall

    [engl] Tour Only Special Mini Album with 2 unreleased and new extralarge songs. Limited on 289 copies
  • 01. Sef-Afrikia
    02. Tel Kal Tidit
    03. Tamiditin Aicha
    04. La Luma
    05. Marhaba
    06. La La La
    07. I Fitalan
    08. Tamiditin Janette
    09. Lubia Taura



    Bibi Ahmed, Kopf und Bandleader von Group Inerane, stammt aus Agadez (Niger), eine der unbändigsten, unbeständigsten und gefährlichsten Gegenden dieser Erde. Früh wurde Bibi mit der Unterdrückung und Ausgrenzung der Tuareg durch die nationalen Regierungen von Mali und Niger konfrontiert. Ebenso früh erwachte seine Liebe zur Musik. Als Kind brachte sich Bibi Ahmed das Gitarre spielen selbst bei, bevor er seine Ausbildung von dem großen Meister und Vater des Tuareg-Blues, Abdallah Ag Oumbadougou, erhielt. Geprägt durch die Erlebnisse in den lybischen Flüchlingscamps während des Tuareg Aufstandes, verlieh Bibi Ahmed, während viele andere Künstler das Land in Richtung Amerika und Europa verließen, mit seiner Band Group Inerane der Rebellion eine eigene, musikalische Stimme und öffnete gleichzeitig die reiche Tradition der Tamachek-Gitarrensänge einer neue Generation Zuhörern. In Zusammenarbeit mit Sounds of Subterrania und den Lotte Lindenberg Studio entstand Februar 2019 sein erstes Soloalbum, bei welchem er alle Instrumente selbst einspielte. Diese Reduktion eröffnen einen völlig neuen Blick auf diesen sehr spezielle Mix aus Tuareg Blues, elektrifizierte Tamachek Folk und Psychedelic Sahara-Rock. Man spürt förmlich das Flirren der Hitze und begibt man sich auf den Pfad des Hörens , verschwimmen die Unterschiede zwischen spirituellen Trance und hypnotischem Psychedelic-Blues.
    EAN 4260016921935
    EAN 4260016921942
  • 1. Quebra-cabeca
    2. Ilha vizinha
    3. Pedra de raio
    4. 4 CANTOS
    5. Areia
    6. Ladeira
    07. Primeiramente
    08. Torre
    09. Levante
    10. Camelo
    11. Portal

    BIXIGA 70

    Quebra Cabeça

    Die kulturelle Verbindung zwischen Brasilien und Westafrika ist eng. Entsprechend pulsiert sie auch durch "Quebra Cabeça" (dt.: Puzzle), dem vierten Album des Instrumentalkollektivs Bixiga 70 aus Sao Paulo. Deren zehn Mitglieder amalgamieren unterschiedliche Einflüsse wie Jazz, Reggae oder die afrobrasilianische Religion Candomblé zu einem fließenden Ganzen. "The whole idea of the band has been to take all these different elements that form us, from Africa and Brazil, and create a hybrid from them", erklärt der Baritonsaxofonist und Flötist Cuca Ferreira. Gegenüber den drei Vorgängern fällt "Quebra Cabeça" deutlich komplexer aus. Die kraftvoll-coolen Kompositionen sind ausgereifter, jeder Song besitzt verschiedene Parts mit Drehungen und Wendungen sowie wechselnden Melodien und kurvenreichen Rhythmen. "They can seem like a journey", vergleicht Ferreira. Abgerundet wird das Ganze durch melodische Bläsersätze. Die neue Herangehensweise entwickelte sich aus dem gnadenlos langen Tourplan der letzten Jahre. Bei ihren Auftritten traf die Formation auf Musiker wie den ghanaischen Highlife-Sänger Pat Thomas, den nigerianischen Saxofonisten Orlando Julius oder den berühmten Bossa-Nova-Pianisten Joao Donato. Sie alle beeinflussten den Sound von Bixiga 70.
    EAN 4030433606315
  • Hé Ténéré [1 Guitar Version]
    Azamane Tiliade
    Illillagh Tenere
    Ahar Azamane
    Hé Ténéré [2 Guitars Version]


    Agamgam 2004

    Das Album des nigrischen Gitarristen und Sängers erschien 2004 und war bis dato nur digital erhältlich. Seitdem hat sich allerhand für Bombino getan, vorläufiger Höhepunkt war 2013 das von Dan Auerbach (Black Keys) produzierte Album "Nomad", das Bombino über Weltmusikkreise hinaus bekannt machte. Zu dem in Nashville aufgenommenen "Nomad" ist "Agamgam 2004" ein wunderschöner Kontrast: Tuareg-Musik in ihrer reinsten und ursprünglichsten Form. Die zehn Tracks entstanden mit Freunden am Lagerfeuer in der Ténéré-Wüste. Neben eigenen Kompositionen verneigt sich Bombino vor anderen Tuareg-Künstlern wie Abdallah Oumbadougou und Hasso Kedou. Das 180-Gramm-Vinyl ist remastert und erscheint im Klappcover.
    EAN 4030433601310
  • 01. Buscando la paz
    02. Calles de dajla
    03. El canto de la arena
    04. El wad
    05. La cordillera negra
    06. Abbar el hamada
    07. Baraka
    08. Mani
    09. Intifada
    10. Los muros


    Abbar el Hamada

    Aziza Brahim wurde 1976 in einem Flüchtlingscamp in der algerischen Wüste geboren. Seit zwei Jahrzehnten lebt sie im Exil, erst auf Kuba, jetzt in Barcelona. Brahims Leben und Musik ist exemplarisch für die Tragödien und Hoffnungen der heutigen Migranten und Flüchtlinge. In einer Zeit, in der die Grenzen in Europa und darüber hinaus wieder vermauert werden, wirken ihre leidenschaftlichen Songs wie mit poetischem Trotz befeuert - und damit sehr aktuell. Brahims Vorgängeralbum "Soutak" wirkte schon mit großen Schritten darauf hin, ihre Botschaft der Befreiung und des Widerstands zu verbreiten. Das Album führte drei Monate lang die World Music Charts Europe an und nahm dort auch Platz 1 der Jahrescharts 2014 ein. Während auf "Soutak" der musikalische Einfluss ihres Wohnorts Barcelona klar erkennbar war, wurde er auf "Abbar el Hamada" mit Sounds aus Westafrika erweitert. Mit von der Partie sind der senegalesische Perkussionist Sengane Ngom, der Schlagzeuger Aleix Tobias, Guillem Aguilar am Bass und die Gitarristen Kalilou Sangare und Ignasi Cussó. Vom pulsierenden Wüstenrock des Songs "Calles de Dajla" zu den afrokubanischen Anklängen von "La Cordillera Negra", von der düsteren Eleganz in "El Canto Del La Arena" bis zur rauen Ballade "Mani" reflektiert "Abbar el Hamada" immer die rastlose Suche nach Heimat.
    EAN 4030433603116
  • Gdeim Izik
    La Palabra
    Manos Enemigas
    Ya Watani



    Seit Jahrzehnten kämpfen die Bewohner der Westsahara für einen unabhängigen Staat. Eine der schönsten Stimmen dieser Befreiungsbewegung ist Aziza Brahim. Die 1976 in einem Flüchtlingscamp geborene Sängerin veröffentlichte 2008 ihre erste EP, auf der sie traditionelle afrikanische Musik mit Blues und Rock mischte. 2012 erschien das Debütalbum "Mabruk", für den spanischen Film "Wilaya" schrieb sie den Soundtrack und agierte auch vor der Kamera. Der Titel ihres zweiten Albums "Soutak" bedeutet so viel wie "deine Stimme" und feiert die Möglichkeit, die eigene persönliche Stimme zu erheben - im Gegensatz zu ihrem Volk, den von Marokko unterdrückten Sahrauis. Musikalisch orientiert sich Brahim in Richtung Mali, eines Landes, das sie schon immer fasziniert hat, aber auch an den vielen Rhythmen der sahrauischen Musik, der Haul, die dem Desert-Blues als Inspirationsquelle dienten. Das Ganze bereichert sie mit Congas, E-Bass und ihrem Willen, einen möglichst eklektischen Sound zu generieren.
    EAN 4030433600917
  • 01. Mi Dolor
    02. Porque Te Amo
    03. Llanto De Un Niño
    04. María Teresa
    05. Será Mejor
    06. Por Ella, La Botella
    07. Tú Y La Noche
    08. Quiéreme
    09. Mala Mujer
    10. Nadie Conoce El Mundo
    11. Sin Hogar
    12. Chana


    Chacalon y la Nueva Crema

    [engl] Lorenzo Palacios Quispe "Chacalón" is a myth. More than a musical star, he is both a religious and secular phenomenon for the masses. Every year on his birthday, his tomb becomes a place of fevered pilgrimage where devotees pray, make wishes and ask for miracles, all done over songs, cases of beer, dancing and toasting. In Peru, his figure and music erases the distance between the holy and the profane, the hero and the lumpen. Chacalón is, for many Peruvians, the people’s angel, the messiah of the poor, the marginalized ’Inkarri’. "When Chacalón sings, the hills come down", was one of his favorite phrases and with it he referred to the migrant masses that invaded the hills and beaches that surround Lima like a "ring of fire" (José María Arguedas dixit). It was the early 80s and while bombs and a dirty war exploded in the Andes, in Lima, the new and ever–growing population of migrants "climbed down" from their precarious homes and filled venues to dance "chicha" music and to celebrate who they saw as their redeemer. Despite being a model messianic figure, Lorenzo Palacios had very humble origins. The son of a music dancer from Huancayo and a singer of huayno music (Andean folk) from Ayacucho, Chacalon was born in Lima in 1950. As a teen, he had his debut on stage as the singer of huayno band "The Indios Quechuas". The main requirement to sing that genre of music was to have a powerful ribcage and young Lorenzo seemed to have the needed lung capacity for "guapeos", thunderous voice blows that the genre required. Chicha music is neither a replica or a copy, despite using Western instruments, such as the electric guitar, bass, drums and organs, and mixing them with cymbals, congas and tropical Guiros. Chicha music has indomestizo elements (like Huayno music) tucked deep in his blood. Listen to the powerful cries of Chacalon and you will hear the heartfelt music of Huancayo; listen to his delicate voice breaks and you will hear the sweet music of Ayacucho. The mix of delicacy and strength and rural and cosmopolitan elements, is part of the secret of seduction that chicha music has had over the masses. Aside from use of electric instruments, rock music has influenced chicha music in other ways. Chacalón’s band was called New Cream as a tribute to the British band Cream. Their use of powerful fuzz tones and wah wah pedals for acid riffs and catchy solos, are the echoes of a rebellious music that wanted to silence the noises of a marginalized and exploitative city atmosphere debased by the most savage capitalism. "I seek a new life in this city / where everything is money and there is evil, " reads "Provinciano", Chacalon’s most famous songs. It’s because lyrics like these that people saw Chacalón as a messianic figure who sang about the promise of a new life. He sang about pain, alcohol and betrayal, but also about solidarity, love and hope. Chacalon sang to the most marginalized part of society, the lumpenproletariat, and not the middle class or the wealthy. Lorenzo Palacios did not see differences between those who complied with the law or those who transgressed it, because in marginality, survival is the only rule and the boundaries between good and evil become very subtle. "Eat first, then morals, " said Chacalon.
    EAN 4040824087111
  • 01. Ven Mi Amor
    02. Lágrima De Amor
    03. Amor, Por Qué?
    04. Sufrir Llorar, Para Qué?
    05. Amor Ideal
    06. Soy Provinciano
    07. Poco A Poco
    08. Porque La Quiero
    09. Dame Tu Amor
    10. Ese Amargo Amor
    11. Señor Ten Piedad De Mí
    12. La Paz Y La Dicha


    Grandes Éxitos 1976-1981

    [engl] This compilation originally appeared in 1982 under the title of “Éxitos, éxitos, éxitos”. It gathered some of the first recordings by Chacalón y La Nueva Crema that were released on 7-inch records between 1977 and 1981. These twelve themes were written during the years of the de facto government of Francisco Morales Bermúdez. This dictatorship led Peru to an institutional and economic crisis that also affected major record labels, which opted to publish foreign musicians to insure sales. Although Chacalon’s career experienced highs and lows after the release of this album, his intimate relationship with his audience remained, carried to levels as extreme as the ones he told Caretas magazine in July 1983: "Once we were playing at a venue on Mexico Avenue, I was singing a song called “Llanto de un niño”, about a boy who was born in poverty, he has to leave his small town with his family. On the coast his father becomes a fisherman and dies, the son wants to send a letter to heaven. While I was singing, a guy who was there, at the front, pulled a switchblade and cut open his veins. He saved himself and then told me later that he had suffered a lot like the child in the song. Yes, the man had been drinking.”
    EAN 964943392435
  • 01. Ratidzo
    02. Chipindura
    03. Kasahwa
    04. Gomoriye
    05. Gwendurugwe
    06. Mayaya (Part 1 & 2)
    07. Musarakunze
    08. Nhemamusasa


    Kasahwa: Early Singles

    Stella Rambisai Chiweshe wurde 1946 in der britischen Kolonie Südrhodesien, dem heutigen Simbabwe, geboren. Sie ist die bekannteste Musikerin ihres Landes und gilt international als die "Queen of Mbila". Mbila ist eine im südlichen Afrika verbreitete Bezeichnung für unterschiedliche Xylophone und Lamellophone. Chiweshe spielt eine Lamellophon-Variante, die von den Zezuru, einer zu den Shona gehörenden Volksgruppe, "mbira dza vadzimu" genannt wird und 22 bis 28 Eisenlamellen in zwei Reihen hat. Chiweshe ist eine der wenigen Frauen, die dieses traditionell Männern vorbehaltene Instrument beherrscht. Obwohl im ersten Befreiungskrieg die britische Kolonialmacht alle kulturellen Aktivitäten verbot, die Kirche die Mbira zum Teufelswerk erklärte und sich Männer weigerten, ihr das Mbira-Spiel zu vermitteln oder überhaupt nur ein Lamellophon zu bauen, lernte Chiweshe zwischen 1966-69 das Instrument und nahm Anfang der 1970er an illegalen Heilungszeremonien teil, bei denen sie Mbira spielte. Nach der formalen Unabhängigkeit 1974 war es ihr möglich, erste Aufnahmen zu machen; gleich ihre Debüt-Single "Kasahwa" erreichte Goldstatus. Die vorliegende Kompilation enthält neben dem Erstling sieben weitere Stücke, die in den folgenden Jahren bis 1983 in Afrika veröffentlicht wurden.
    EAN 4030433606117
  • 01. Cumbia Loca
    02. Mensaje Guajiro
    03. Gaita Turca
    04. Mosaico: Catalina / Amorcito Lindo / Chela
    05. El Morrocoy
    06. La Pompita
    07. Cumbia Del Sol
    08. Moler La Caña
    09. Cumbia De Estrellas
    10. Lelogua
    11. Noche Y Cumbia
    12. Mosaico: La Silenciosa / La Pestañita / Sufre Negra


    Cumbias con El Miramar

    [engl] First ever reissue of "Cumbias con El Miramar", a very hard-to-find album released by Discos Fuentes in 1965. Full of excellent cumbias and gaitas for dancing, the record actually is a lot more diverse than the title leads one to believe, as there are lots of other hot rhythms and arrangements on it, taken from Cuban genres like guajira, guaracha, guaguancó, charanga and son montuno. Presented in facsimile artwork and pressed on 180g vinyl. Part of Vampisoul's reissue series of classic Fuentes LPs.
    EAN 8435008863432
  • 01. Puma 72
    02. Sorriso de Manha
    03.Juanito Caminante (Little Johnny Walker)
    04. Tutti Frutti
    05. Donateando (Happiness)
    06. Cheese Boogaloo
    07. Eu Nao Vou Mais
    08. Adao Fora do Balaço
    09. Shangri La
    10. Erasmo
    11. Goodbye To Love
    12. Tema Perdido (Lost Theme)


    Gods In Brasil

    [engl] In the mid 90s Gary lived in Rio sharing a flat with Kassin, then in an unknown local band but later to become one of Brazil’s greatest producers working with Gal Costa, Caetano Veloso and Gilles Peterson. Back then Gary used to constantly write songs but could never be persuaded to do anything with them. But the songs would stick in Kassin’s head and plague him for years. Over the following decades Kassin would regularly ask ’what about your album?’ and Gary would shrug and say, "yeah, maybe, one day". Then, in 2018 Kassin played in London with members of multi–platinum Polish supergroup Mitch & Mitch and this time when Kassin posed the question, Gary said "Yes! Let’s do it, but we have to do it in Poland with these guys." This led to recording Gods in Brasil at the Polish Radio Studios in Warsaw with the Mitch & Mitch guys and a bunch of classical sessions musicians and finishing off in Kassin’s studio in Rio with some special guests. The record turned out so well that Gods in Brasil Vol 2 is already under way. The album touches on the classic sounds of 60s and 70s Brazilian records with nods to Gary McFarland on the way. The song Juanito Caminante is already a favourite with Joao Donato who was a huge influence on the sound of the album. The arrangements were shared between Alberto Continentino and Ryszard Borowski of the Polish Radio Big Band.
    EAN 4040824089498

    Resume des Episodes Precedents

    [engl] • First ever anthology of Les Primitifs du Futur with new exclusive cover artwork by legendary comic book author Robert Crumb Nicknamed the Primdufs, they are neither Smurfs nor cave dwellers, just a happy collective of musicians who always have their instruments at the ready. They all have an inexplicable passion for a musical genre that some could consider obsolete, outdated and antique: the French ‘valse musette’ (a kind of popular swing waltz music, ndlt). But let’s be clear, this has nothing in common with the smutty chords of popular balls and singalongs in little town halls, nor with the trills of another generation linked to names like Horner or Verchuren in afternoon tea dances. No, this is ‘bal musette’ with balls, genuine, virile, authentic, and athletic, which used to get the blokes and the birds jivingin the no-man’s land of demolished forts around what the Parisians call Paname. Seen like that it is easy to imagine that the Primitifs du Futur, for that is their name, enjoy carefully recreating in minute detail museum pieces from the pungent remains of past festivals. It is more than that. Because though these noble savages like rummaging around in 1920s Paris, they don’t shy away from including rhythms from all over the planet, rhumba from Zaireto, gypsy jazz, Hindu waltzes or Argentine tango, blues, ‘paso doble’ or ‘chanson réaliste’. It all began in 1986, when Dominique Cravic, ‘’ukukeke’’ champion and a renowned guitarist who learned from jazzmen like Lee Konitz or Larry Coryell and also played with Georges Moustaki and Henri Salvador, met a certain Robert Crumb. Yes, the legendary comic book author from the great days of the US psychedelic underground in the 70s, the creator of Fritz the Cat and Mr Natural in person, the same man who also created the cover for ‘’Cheap Thrills’’ by Janis Joplin. Crumb plays banjo and mandolin, collects 78 sof blues, jazz and… musette. The two cronies then composed their own made-to-measure orchestra, alongside many famous names including accordionist Daniel Colin, clarinettist Bertrand Auger, saxophonist Daniel Huck, bassist Jean-Philippe Viret or singer Claire Elzière (sorry, it’s impossible to name them all). This great group has recorded four albums since 1986 (all with sleeves drawn by Crumb), some including guest stars such as Pierre Barouh, Jean-Jacques Milteau, AllainLeprest, Sanseverino or Olivia Ruiz. For thirty years, the Primitifs du Futur have carried the torch of musette to the four corners of the earth, from fiestas to festivals, and today release a double vinyl, entitled ‘Résumé des épisodes précédents’ which brings together the best of their adventures. It is a refreshing and heartening cocktail of ‘’world tribal musette’’, as they call it, which, in these electro digital times, has a rejuvenating effect, amagic swing potion. Les Primitifs du Futur take us back to the future. ‘’THE PRIMITIFS DU FUTUR travel on sound waves back in time to the early twentieth century and make the world seem like a far better place than it ever actually was. I cant get the band's music off my turntable or out of my head. Accordion, mandolin, harmonica, saxophone, musical saw, and beautiful haunting melodies—what’s not to love? Even their sad songs make me happy.’’ Art Spiegelman. • 2xLP with 20 page booklet with all Crumb previous artworks for the band’s albums plus unseen photos 1500 copies - No Repress
    EAN 3491570057827