[engl] Really an amazing atmospheric and psych–influated album by Afet Serenay. Mind–blowing tunes by the players, band members were famous musicians and the band called "ARILAR" (which means The Bees). Some hard–hitting rhythm section blending into a prime example of the swingin’ sound of the cool influences of Psychedelic Folk... Most of the songs are from traditional Turkish folk songs with groovy arranges, drum attacks, percussions, saz and absolutely superb moog sounds going there and here... Lovely and tasty Turkish Delight..! Enjoy the sound =) ARSIVPLAK has long delved into the weirdest, most wonderful forms of psychedelia from Turkey throughout the last few decades. Metin Alatli, Tayfun, Halit Kakinç, Ruacan as a producer, Arsivplak also reimagined Turkish folklore through a classic synthesizer on the sublime "Volga Nehri (Turkish Disco Folk)" in 2012, "Moog Edits" in 2015 and the new edit album after 4 years.. Whether it’s the moog organ or the electric–saz there are no casual players with each instrument taking decades to master and the label showcase these shared characteristics between funk–jazz and traditional Turkish disco–folk music." Here you go "Mirror". Enjoy..!! ARSIVPLAK has long delved into the weirdest, most wonderful forms of psychedelia from Turkey throughout the last few decades. Metin Alatli, Tayfun, Halit Kakinç, Ruacan as a producer, Arsivplak also reimagined Turkish folklore through a classic synthesizer on the sublime "Volga Nehri (Turkish Disco Folk)" in 2012, "Moog Edits" in 2015 and the new edit album after 4 years.. Whether it’s the moog organ or the electric–saz there are no casual players with each instrument taking decades to master and the label showcase these shared characteristics between funk–jazz and traditional Turkish disco–folk music." Here you go "Mirror". Enjoy..!!

[engl] Mix righteous fuzz guitar, bad-ass keyboards and ecstatic African rhythms and what have you got? Celebration by Aktion - a slab of of heavy Afro-funk-pysch-rock from the hardest working band in 70s Nigeria. Aktion had a residency at the Lido Night Club and Restaurant in Warri but toured constantly. Drummer Ben Alaka and Bass player Renny Pearl Nwosa created a bedrock of hardcore rhythm that allowed the rest of the band to cut loose and follow their own groove. Celebration, their second album, sees Aktion at the height of their powers. Ben Alaka had claimed his crown as the best drummer in the country (Proof: the intro to ?Centepede?), keyboardist Zeaky George has got his freak on (have a listen to ?We?re Laughing?) and Jimi Lee?s searing guitar breaks were leaving scorch marks across every track (?Celebration?, ?Groove The Funk?, take your pick.) Sadly, Celebration was also their last album. Renny and Lemmy left to form The Stormmers. Jimmi Lee hooked up with Mona Finnih and discovered disco. But Celebration remains a psych rock monster - and a funky, fuzz-filled tribute to Nigeria?s rocking east. - Peter Moore, www.africanrevolutions.com

[engl] The complete session finally back on CD! Recorded in Stockholm on October 25th, 1962, this session marks one of Ayler's earliest recordings, featuring a European backing group he assembled during his brief stay there, before returning to the States in 1963 and beginning his legendary run with ESP-Disk and Impulse! Though his genius was not yet fully formed, one can easily hear he's headed that direction, and this rare and long out of print recording is an essential piece of the history of one America's most uniquely lyrical voices on the saxophone.

[engl] The complete output of a great but under-recorded soul singer. Pressed on 180g white vinyl, with in-depth notes and rare photos on inner bag. Today Brooklyn is the hipster capital of the USA. Rejuvenated by gentrification, it is the place to live in the New York area if you are young and up-and-coming. Yet for a large part of the 20th century it was an adjunct to the glittering lights of Manhattan for working people and their everyday lives. Born in the late 1940s, Alice Clark came from the borough’s Bedford-Stuyvesant area and returned there when her recording career ended. Until recently the only person we could find who remembered Alice was Billy Vera. A singer, songwriter and music historian, Billy produced her first single, released on Rainy Day Records, but remembered very little despite overseeing the exceptional tracks on that 45 and a third which eventually appeared here on Ace in 2010. Alice also released the fantastic single ‘You Hit Me (Right Where It Hurt Me)’, a classic piece of uptown soul, and an album for Bob Shad’s Mainstream Records. The 45 became a northern soul anthem, whilst ‘Don’t You Care’ and ‘Never Did I Stop Loving You’ from the LP became dance floor hits on the acid jazz and modern soul scenes in the 1990s. Gathered together, the 15 tracks Alice recorded emphasise what a lost talent she was. It’s a meagre output cut over a four-year period, which yielded no success but left a large footprint. After her records failed to bring her fame and fortune, she retired from music to look after her family, most notably her seven grandchildren. Alice died in 2004, unaware how much her music meant to a couple of generations of UK clubbers. We would like to think this album serves as a fitting tribute to a great but under-recorded singer.

[engl] Heaven sent from Nigeria?s tumultuous east, The Apostles have been preaching a particular blend of funky psychedelic soulock fusion for over forty years. On Banko Woman they threw a little Afrobeat into the mix, creating an Afro-Funk disco bomb that has been energising dance floors ever since. The title track finds the band at the height of their powers. Stung by the acclaim Felix ?Feladay? Odey got for the searing guitar lead on ?Never Too Late?, Walton Arungwa is a man possessed, trading licks with keyboardist Benjamin Nnamdi Davidson and sounding all the world like a Nigerian Carlos Santana. The players in the rhythm section, Henry Asu Tandu, Chicago Nwoha and Harrison Mba, are tight and relentless, keeping their heads so everyone else can lose theirs. Of course, you don?t stay successful as long as The Apostles without giving the audience what they want. On Banko Woman, that?s a country song for mum and dad (?Mr Too Know?) and a couple of earnest, plaintive tracks for emotional challenged chaps to dedicate to their girlfriends (?Yours Sincerely? and ?Friend Today, Enemy Tomorrow?). You also finish on a high. ?Disciple Funk?, is almost a religious experience, an 8-minute long instrumental wig that will have you flipping the record back to side one and starting all over again. - Peter Moore, www.africanrevolutions.com

[engl] Super fantastic Turkish disco / psychedelic / funk album, all sounds are from the orig 1970s and 1980s. Funky tunes with moog organ, bass guitar and electric saz, clapping riffs, wah guitar, clarinet, darbuka and double drums. Absolutely grrrrrrreat disco–club samples on this album that got everything a DJ needs. Hear it !!! Superb Turkish Disco sound from beginning to end.. " ARSIVPLAK has long delved into the weirdest, most wonderful forms of psychedelia from Turkey throughout the last few decades. Metin Alatli, Tayfun, Halit Kakinç, Ruacan as a producer, Arsivplak also reimagined Turkish folklore through a classic synthesizer on the sublime "Volga Nehri (Turkish Disco Folk)" in 2012, "Moog Edits" in 2015 and the new edit album after 4 years.. Whether it’s the moog organ or the electric–saz there are no casual players with each instrument taking decades to master and the label showcase these shared characteristics between funk–jazz and traditional Turkish disco–folk music." Here you go "Mirror". Enjoy..!! ARSIVPLAK has long delved into the weirdest, most wonderful forms of psychedelia from Turkey throughout the last few decades. Metin Alatli, Tayfun, Halit Kakinç, Ruacan as a producer, Arsivplak also reimagined Turkish folklore through a classic synthesizer on the sublime "Volga Nehri (Turkish Disco Folk)" in 2012, "Moog Edits" in 2015 and the new edit album after 4 years.. Whether it’s the moog organ or the electric–saz there are no casual players with each instrument taking decades to master and the label showcase these shared characteristics between funk–jazz and traditional Turkish disco–folk music." Here you go "Mirror". Enjoy..!!

[engl] A fantastic Turkish psych funk, disco–folk album, sounds from orig 70s. Killer funky sound with moog organ, bass guitar and electric saz, clapping riffs, wah guitar, clarinet, darbuka and drum tunes. Really great disco–club samples on this record that got everything a DJ needs, Hear it !!! Superb Turkish Disco sound from beginning to end.. ARSIVPLAK has long delved into the weirdest, most wonderful forms of psychedelia from Turkey throughout the last few decades. Metin Alatli, Tayfun, Halit Kakinç, Ruacan as a producer, Arsivplak also reimagined Turkish folklore through a classic synthesizer on the sublime "Volga Nehri (Turkish Disco Folk)" in 2012, "Moog Edits" in 2015 and the new edit album after 4 years.. Whether it’s the moog organ or the electric–saz there are no casual players with each instrument taking decades to master and the label showcase these shared characteristics between funk–jazz and traditional Turkish disco–folk music." Here you go "Mirror". Enjoy..!! ARSIVPLAK has long delved into the weirdest, most wonderful forms of psychedelia from Turkey throughout the last few decades. Metin Alatli, Tayfun, Halit Kakinç, Ruacan as a producer, Arsivplak also reimagined Turkish folklore through a classic synthesizer on the sublime "Volga Nehri (Turkish Disco Folk)" in 2012, "Moog Edits" in 2015 and the new edit album after 4 years.. Whether it’s the moog organ or the electric–saz there are no casual players with each instrument taking decades to master and the label showcase these shared characteristics between funk–jazz and traditional Turkish disco–folk music." Here you go "Mirror". Enjoy..!!

[engl] It is interesting how the Jazz sounds of the 1950s and early 1960s influenced later psychedelic bands and if you dig yourself through to the most influentual records of that mind expanding extraordinary wing of jazz music you will hit Art Blakey and this album directly with your nose. The title says it all and what you get to listen to here will surely take you away from the cold and grey reality and drag you onto a trip to the center of your galaxy. It starts with a haunting passage that shows roots in African and latin folk music, then explodes into a cacophony of poly rhythmical patterns. There are voices allover the place but it is not singing in the actual way. This voice howls in the more gentle parts and spits commands over the wild rhythm burst outs. Art Blakey smokes and despite his completely unleashed playing he makes his drums sound melodic if that makes sense to you. Sometimes he gets accompanied by a piano or flute but their lines will hardly show up and seem like doomed greetings from forlorn dimensions while the sheer power of the drumming becomes the true reality and tears up your mind to let it float out. And this is only the first piece called ?Buhaina chant?. ?Ya ya? as second piece is a bit more melodic and has an irresistible groovy flow, still with this melodic drumming that builds the spine of this outstanding record. German 70s project NIAGARA has recorded similar drum based music 15 years ahead of this 1957 release. The few bass lines and piano sounds and the occasional flute are nothing but tinges of colour to make this an even more exciting affair. And it really sounds like a ritual as the album title implies, a ritual as quite often indicated by H.P. Lovecraft in his haunting novels and short stories about unspeakable cults. The album gets more song oriented with the beginning of the next piece ?Toffi?. Traditional African chants on a bass, piano and drum background flow into a passage where the piano takes off for a longer solo that is rooted in blues, boogie and ragtime jazz, the flute gets a solo passage as well on a base of latin tinged drum and bass patterns and a repetitive piano chords. But again the piece gets stripped down to it's bare rhythmical spine and then Art Blakey comes to freak out on his drumkit. You can still hear the piano and bass doing the same line over and over again but your attention lies with the furious antics of Mr. Blakey while the percussive backing hypnotizes you. Again we have this cultish and ritualistic appeal. An orgy in rhythm. ?Split skins? as song title will prepare you for what comes over you. Another nine minutes of drumming power. It comes as a sheer endless drum solo and still keeps your attention going from the first to the last beat. Blakey is to the drums what Coltrane is to the tenor saxophone and what John McLaughlin is to guitar, a visionary, a traveler and searcher who pushes himself and his boundaries forward. Aged 38 by the time he recorded this album he reached his first peak. As a member of groups with Thelonius Monk and Miles Davis he certainly was a common name among jazz aficionadoes and this album showed that he actually was much more than just the drummer of some bigger leaders. A top classic and still as relevant as it was in 1957 when it got released.

[engl] Baad John Cross?s New Revolution is a Afro-electro-funk-boogie-disco banger that could only come from 1980s Nigeria. Bright, optimistic, with an unrelenting eye on the dance floor, it is regarded by many as a prototype of the electro rhythms that would become the signature sound of Nigerian boogie. A Cameroonian by birth, Cross arrived in Lagos a cheeky smile, a pair of white dungarees and a bag full of songs. After proving his chops with uncredited session work, he signed with the legendary Coconut label, hooked up with producer Modjo Isidore and created a stone cold boogie classic in New Revolution. ?Gimme Some Lovin? and ?Get Up And Dance Salsa? (briefly a dance craze in Lagos, apparently) are dance floor classics, ?Jeanie My Love? the obligatory love ballad and ?We Need Freedom? a Marleyesque call for peace across the continent. The real surprise is ?Rock n Roll Birthday?, a rockabilly number straight out of 80?s London. (The cover photo has a similar vibe.) Sadly, New Revolution was to be Baad John Cross?s only album. He was soon back in Cameroon, eking out a career as a session musician, but not before creating one of the freshest Nigerian boogie albums ever made. - Peter Moore, www.africanrevolutions.com

[engl] A vinyl album featuring 14 of her finest sides for Money Records of Los Angeles. Bettye Swann scored an R&B hit with ‘Don’t Wait Too Long’, her catchy debut single for Money in 1965. She seemed to have a bright future but her follow-up, the Motownesque ‘The Man That Said No’, did not chart, nor did the tougher-sounding ‘The Heartache Is Gone’. However, Money’s perseverance paid off when the self-written ‘Make Me Yours’ pressed all the right buttons and spent two weeks at the top of the R&B charts in 1967. The song was later covered by Z.Z. Hill and Spencer Wiggins, becoming an established soul classic. Bettye wrote many of her own songs at Money. Among the few exceptions was an exquisite rendition of Sam Cooke’s ‘A Change Is Gonna Come’ from her “Make Me Yours” LP. An earlier album had been scheduled after her first hit but was shelved when the follow-ups failed. That album would have contained ‘The Dance Is Over’ and a faster version of her later single ‘I Think I’m Falling In Love’, both included here. The momentum from her big hit carried over to ‘Fall In Love With Me’ but the next 45, a cover of the Temptations’ ‘Don’t Look Back’, fared less well. A far better choice for the A-side might have been the melodic flip, ‘You Gave Me Love’, which Bettye co-wrote with Arthur Wright, whose sensitive arrangements contributed so much to the great sound of her Money recordings. Her swansong for the label was the unusual ‘Don’t Take My Mind’ which was not sufficiently far-out to catch on at a time when psychedelic soul was becoming popular. Bettye’s manager and new husband, George Barton, then took her to Capitol Records where she was assigned a white producer who switched the emphasis from her self-penned material to country and standards. This LP is testament to her superb skills as songwriter and vocalist at her first and most successful label stay.

[engl] Beynelmilân is delivering some funky turkish sound to your ears. A drumbreak in each track, psychedelic vibes and funky groove revisited classic turkish folk songs. If you like 70’s anatolian Rock/Pop, Yeralti Oyun Havalari (Underground Belly Dances) is for you for sure. He recently contributed 2 tracks to the new Arsivplak record ’Mirror’, which is a compilation of turkish disco folk with the typical psychedelic touch. After it was only released on tape finally with the slightly different vinyl version of Yeralti Oyun Havalari, there is a full length LP containing 10 delightful tracks to take you on a trip to the turkoholic mekka of 70’s anatolian psychedelic rock. Beynelmilân knows how to bring some heat to the dancefloor with tunes like ’Adam Mi Oldun’ but also brings you down to a hypnotizing trip with tracks like ’Yaniyorum’ which is topped with some melancholic vocals. Never missing the heavy drum breaks and intense melodies topped with some discoid flavour. Limited edition of 500 copies!

[engl] AVAILABLE AGAIN! Long thought to be lost to only the most industrious of crate diggers, Bill Plummer's 1968 album Bill Plummer & the Cosmic Brotherhood makes its triumphant return on Captain High Record for the first time reissued on vinyl. Already an accomplished jazz bassist at the time of the album's release, Bill Plummer turned heads on the Cosmic Brotherhood with heavy Eastern and psychedelic influences that challenged contemporary ideas about jazz. Original compositions like 'Journey to the East' and 'Arc 294' are colored by striking sitar sounds, rhythmic chanting and melodic improvisation, while Plummer lends his distinctive touch to songs by The Byrds ('Lady Friend') and Burt Bacharach ('The Look of Love'). The result is an album that reflects a musician at the peak of his creative powers, unafraid to explore new ideas and sounds that meld into a cohesive, spectacular album.

[engl] Search the name ?Burnis Moleme' and the returns are sparse. You?ll discover that his track ?Where Is The Answer? appeared on Soundway?s excellent Nigerian disco compilation, Doin? It In Lagos. And there are a few entries about this PMG re-issue of Light My Fire. But other than that, he seems to have disappeared off the face of the earth. He?s not even a minister of religion, the career path most Nigerian stars from the 80s chose to follow. Thankfully, we still have Light My Fire. Produced by former Funkee Jake Sollo and backed by a hot team of session musos including Friday Pozo, Nkono Teles and Joseph ?Jojo? Kuo, Burnis delivered a slab of slick Afro Disco Boogie for the ages. ?Boju Boju? and ?Where Is The Answer? would start a party on any dance floor, while the title track would keep you on it until dawn. Burnis had a sensitive side too, showcased on tracks like ?Scott Angel? and ?No Place To Hide?. I suspect Burnis Moleme was simply a casualty of the Nigerian label wars between EMI, Phondisk and Tabansi in the early 80?s. Tabansi hoped that Burnis might be the next Kris Okotie, but Felix Liberty took that mantle instead. But that does take away from what ?Light My Fire? is ? a beautifully produced slice of Nigerian disco boogie by a guy who could write catchy songs, sing like a sex god and look good in a shiny purple suit. - Peter Moore, www.africanrevolutions.com