Search results for ANALOG AFRICA

Various – Pop Makossa – The Invasive Dance Beat of Cameroon 1976-1984 (Analog Africa)
Friday, June 16th, 2017 | Tags: ,
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Eine Compilation voller sommerlicher Dancefloor-Anthems, unglaublicher Bassläufe und einer besonderen musikalischen Mischung aus Merengue, High-Life, Rumba Congolaise Funk und Disco.

CD AACD083 / 2LP AALP083
Release: 16-06-17
Auf Analog Africa erscheint die großartige Compilation “Pop Makossa – The Invasive Dance Beat of Cameroon 1976-1984”
Monday, June 5th, 2017 | Tags: ,
Posted in Magazine, News | Comments Off on Auf Analog Africa erscheint die großartige Compilation “Pop Makossa – The Invasive Dance Beat of Cameroon 1976-1984”

Analog Africa veröffentlicht seine 23. Compilation, und wir glauben, dass mit “Pop Makossa” ein großer Wurf gelungen ist, der DJs, Tänzern und Musikfans gleichermaßen gefallen wird! Diesmal hat sich Samy Ben Redjeb gemeinsam mit Co-Compiler Déni Shain mehrfach auf die Spurensuche nach Kamerun begeben – auf der Fährte von legendären Musikern und Produzenten wie Bill […]

Shadow – Sweet Sweet Dreams (Analog Africa)
Friday, December 16th, 2016 | Tags: , ,
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When it came out in 1984 the far-out album Sweet Sweet Dreams by Trinidad & Tobago’s Shadow (aka Winston Bailey) was described as “way ahead of its time”. Remastered and cut by Frank Meritt at The Carvery the album is truly a masterpiece.

CD AACD082 / LP AALP082
Release: 16-12-16
Analog Africa present a re-release of Shadow’s far-out Caribbean disco album Sweet Sweet Dreams
Monday, November 21st, 2016 | Tags: , ,
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“I take my guitar and strum and sing some tings and blow people’s mind. But I ain’t trying to do anybody’s music. I’m doing what I feel” – Shadow When it came out in 1984 the far-out album Sweet Sweet Dreams by Trinidad & Tobago’s Shadow (aka Winston Bailey) was described as “way ahead of […]

Analog Africa is proud to present “BITORI – Legend Of Funaná (The Forbidden Music of The Cape Verde Islands)”
Monday, July 11th, 2016 | Tags: ,
Posted in Magazine, News | Comments Off on Analog Africa is proud to present “BITORI – Legend Of Funaná (The Forbidden Music of The Cape Verde Islands)”

In 1997, a quiet, unassuming man of 59 years old named Victor Tavares – better known as Bitori – walks into a studio for the very first time to record a masterpiece which many Cabo Verdean consider to be the best Funaná album ever made. Bitoris musical adventure had begun long before this point. It […]

Analog Africa to release a compilation by Amara Toure
Tuesday, June 23rd, 2015 | Tags: , ,
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Analog Africa to release a compilation by Amara Toure, the enigmatic Afro-Cuban musician from Guinea-Conakry, showcasing all of the 10 songs he ever released between 1973 and 1980. “Latin music, is it really foreign to us Africans? I don’t think so. Listen to the drums, to the rhythm. It all seems very close to us […]

Mestre Cupijo e Seu Ritmo’s “Siriá” on Analog Africa – brass heavy music from the Amazon
Friday, March 21st, 2014 | Tags: , ,
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Cametá, a historical little Amazonian town on the shores of the river Tocantins, is the birthplace of the scorching music known as “Siriá”; a cross pollination between the music of the inhabitants of the quilombos, a Brazilian hinterland settlement founded by escaped slaves of African origins, and the indigenous people of the Amazon rainforest. It […]

Analog Africa is proud to present the second volume of “Afrobeat Airways”
Thursday, September 12th, 2013 | Tags: ,
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From the coastal cities of Accra and Cape Coast, basked in a tropical sound heavily influenced by highlife, to the semi-Saharan cities of Tamalé and Bolgatanga (part of a self-proclaimed ‘Islamic Funk Belt’) via the central city of Kumasi, Analog Africa has criss-crossed Ghana in search of rare tracks for the Afrobeat Airways series. Following […]

Orchestre Poly-Rythmo De Cotonou – The Skeletal Essences Of Afro Funk (Analog Africa)
Monday, May 6th, 2013 | Tags: , ,
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Following two previous Poly-Rythmo collections released by multiple award winner label Analog Africa this third compilation is another proof that our ears are facing “one of the funkiest bands in the world”.

CD AACD073 / 2LP AALP073
Release: 03-05-13
Various – Diablos Del Ritmo (Analog Africa)
Monday, November 26th, 2012 | Tags: ,
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This compilation will instantly transport any listener to Colombia’s thriving Caribbean coast to indulge in the succulent belly of tropical music’s untold historic tales. Double CD incl. a full colour 60-page booklet.

2CD AACD072
Release: 23-11-12
Analog Africa presents an anthology of the immense sound of 1970s Colombia
Thursday, November 15th, 2012 | Tags: ,
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There are a number of theories as to how, in the mid-20th century, African music made its way to Colombia’s vibrant port city of Barranquilla, today’s mecca of Caribbean tropical music flled with the chaos of loud music, frenetic taxis, delicious Sancocho soup aromas and a charminglycolourful aura. Some maintain that a man named “Boquebaba” […]

Analog Africa presents another joyful collection of sounds by Le Super Borgou De Parakou …
Thursday, April 5th, 2012 | Tags: , ,
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Le Super Borgou de Parakou was the brainchild of Moussa Mama, who, having worked as a goldsmith in neighbouring Accra and Ghana in the 1950s, returned to Benin with a wealth of musical ideas, and a progressive vision to meld these sounds into his collective troupe. Various incarnations of these are found over The Bariba […]

Various – Bambara Mystic Soul – The Raw Sound Of Burkina Faso 1974-1979 (Analog Africa)
Monday, October 10th, 2011 | Tags: ,
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For its commemorative 10th release, Analog Africa indulges in Burkina Faso, one of the jewels of the Sahel.

CD AACD070 / 2LP AALP070
Release: 07-10-11
Orchestre Poly-Rythmo – Orchestre Poly-Rythmo (Analog Africa)
Monday, May 30th, 2011 | Tags: , ,
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“Analog Africa – Limited Dance Edition” presents the first LP of Orchestre Poly-Rythmo, one of the best Benin afrobeat recordings from 1973!

CD AACD-DE001
Release: 27-05-11
Analog Africa are pleased to announce the launch of a new series called “Analog Africa – Limited Dance Edition” …
Thursday, May 19th, 2011 | Tags: , ,
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Analog Africa are pleased to announce the launch of a new series called “Analog Africa – Limited Dance Edition”. The objective of the series is to release African and tropical records (in strictly limited editions) which concentrate on single artists that have had an impact on the label in a way or another. The first […]

Various – Angola Soundtrack (Analog Africa)
Monday, November 22nd, 2010 | Tags: ,
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A powerful confluence of traditional rhythms from Luanda’s islands, psychedelic guitar sounds imported from neighbouring Congo, Latin grooves, old school Caribbean merengue and the hard beat of the Angolan carnival bands conspired to create the modern music of Angola.

CD AACD069 / 2LP AALP069
Release: 19-11-10
Various – Afro-Beat Airways (Analog Africa)
Monday, August 9th, 2010 | Tags: ,
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“Afro-Beat Airways” showcases an amazing diversity of local rhythms spiced with Afro-American funk, soul and jazz. These tracks have been hiding for 30 years and as you will hear these are modern African sounds created to stand the test of time.

CD AACD068 / 2LP AALP068
Release: 06-08-10
Analog Africa presents a compilation of tracks by legendary accordionist Anibal Velasquez …
Thursday, March 25th, 2010 | Tags: , ,
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Having built its reputation on releasing long-forgotten gems from 1970s Africa, especially Benin (including two releases by Orchestre Poly-Rythmo de Cotonou), Analog Africa is moving its focus to another continent altogether for release number 7: “Mambo Loco” is a compilation of tracks by Anibal Velasquez, the legendary accordionist from Barranquilla in Colombia. When not crate-digging […]

Analog Africa presents the second volume of Orchestre Poly-Rythmo De Cotonou …
Thursday, October 15th, 2009 | Tags: , ,
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“The riches of Vodoun rhythms are of such magnitude that one would never get to the bottom of it – we’ve tried.” Vincent Ahehehinnou, lead vocalist of Orchestre Poly-Rythmo de Cotonou Four years in the making, Analog Africa finally presents the second volume of Africa’s funkiest band, the mythical Orchestre Poly-Rythmo de Cotonou. Volume one […]

Various – Legends Of Benin (Analog Africa)
Monday, June 8th, 2009 | Tags: , , ,
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A collection of super rare and highly danceable masterpieces recorded between 1969 -1981 by four legendary composers from Benin. This compilation comes with a 40 page full colour booklet with ultra rare pictures and biographies.

CD AACD065 / 2LP AALP065
Release: 05-06-09
The new Analog Africa compilation “Legends Of Benin” is a collection of super-rare masterpieces …
Friday, May 15th, 2009 | Tags: , , ,
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“Legends of Benin” is a collection of super-rare and highly danceable masterpieces recorded between 1969 and 1981 by four legendary composers from Benin: Gnonnas Pedro et Ses Dadjes, Antoine Dougbé, El Rego et Ses Commandos, and Honoré Avolonto. Each one of them has his own distinctive sound – a thick brew of agbadja, soul, cavacha, […]

Orchestre Poly-Rythmo De Cotonou – The Vodoun Effect (Analog Africa)
Monday, December 8th, 2008 | Tags: , ,
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Orchestre Poly-Rythmo de Cotonou is West Africa’s best-kept secret. This collection is a mixture of afrobeat, funk, soul, latin, and vodoun rhythms.

CD AACD064
Release: 12-12-08
Analog Africa
Thursday, November 20th, 2008 | Tags: , , , ,
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Analog Africa releases unusual African music from the 70s, music with a certain twist that will surprise you or that you didn’t expect to hear from Africa, and that often had a strong impact on its country of origin. Frequently these recordings – all fully licensed – were never released outside of Africa before. Considerable […]

The new Analog Africa collection focuses entirely on West Africa’s best-kept secret – The Orchestre Poly-Rythmo De Cotonou …
Friday, November 14th, 2008 | Tags: ,
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Following the compilation “African Scream Contest – Raw & Psychedelic Afro Sounds from Benin & Togo 70s” – which featured several tracks by Orchestre Poly-Rythmo de Cotonou, including the ground-breaking “Gbeti Madjro” – this new Analog Africa collection now focuses entirely on Orchestre Poly-Rythmo. Orchestre Poly-Rythmo de Cotonou is arguably West Africa’s best-kept secret. Their […]

Sahaja – Analog Lovers Rock
Wednesday, October 5th, 2016 | Posted in Products | Comments Off on Sahaja – Analog Lovers Rock

Image: 1606755 The debut album from LA underground producer/DJ/musician Sahaja, draws influences from his expansive vinyl collection of disco, afrobeat, brazilian, R&B, psyche, and rare new age music, but made almost exclusively with analog synthesizers + vintage drum machines in the Joshua Tree desert. Known for rocking parties as a DJ for years, he’s played at legendary Los Angeles parties at Firecracker, The Do-Over, and Sketchbook, and he has shared the tables with everyone from DJ Spinna to Theo Parrish to The Gaslamp Killer.

The opening “Invocation” weaves together African drum samples along with a minimal analog kit, held together by a raw Mini Moog bassline and vocals of Afro-Cuban descent. Clearing the path for the listener, the record then moves into “Seven Reasons”, a chugging synth beat with a slow-disco bass, with vocals from newcomer Ariane Aumont, and rapper “Effortless.” After a short interlude the record picks up into “Home Tonight,” an uptempo analog funk number created mostly using a Roland Juno & 707 featuring veteran Bay Area funk musician / producer E. Live on bass and the brassy vocals of Chesta Blake.

“All Of Me” is a heavy synth beat / love song featuring the vocals of South African singer Sihle Mndla, singing both in English and in her native Xhosa tongue. Following is a short number highlighting the ability to improvise on analog drum kits over the smooth & simple grooves of a Roland Jupiter (+ a few other toys), and then a short but sweet live recording of Ariane Aumont, Sahaja & friends on guitar and vocals with simple live percussion.

Side B of the record opens with a Detroit-styled broken house tune, “There Was A Time”, with Rhodes chords played out & sampled, pitch shifted vocals, and an array of drums sounds mostly via the Roland 909. D Villa appears next over the tech-heavy love song “Let You Feel,” followed by monster beat “Fiendin.” Next, the gem of the entire album is “Could This Be Real” with Chesta Blake on vocals, and perhaps offering us the definition of ‘Analog Lovers Rock’. Ending on a high note with future-funk track “Electricity” structured around a classic 808 kit, this is a record that promises not to disappoint.
Available from 21.10.2016

Idris Ackamoor & The Pyramids – We Be All Africans
Friday, April 15th, 2016 | Posted in Products | Comments Off on Idris Ackamoor & The Pyramids – We Be All Africans

Image: 1603402 Strut are proud to present the brand new studio album from West coast intergalactic jazz mavericks, The Pyramids, led by their inspirational bandleader, Idris Ackamoor.

Tracklisting:
We Be All Africans 6:12
Epiphany 7:20
Silent Days 6:12
Rhapsody In Berlin 6:20
Clarion Call 5:49
Traponga 2.17
Whispering Tenderness 3.49

‘We Be All Africans’ is a message of survival. A message of renewal. A message that we are all brothers and sisters. We are all one family, the human family and we need one another in order to survive on this planet that we all share. – Idris Ackamoor

Strut are proud to present the brand new studio album from West coast intergalactic jazz mavericks, The Pyramids, led by their inspirational bandleader, Idris Ackamoor.Alto saxophonist Ackamoor first founded The Pyramids alongside fellow students Margo Simmons (flute) and Kimathi Asante (electric bass) in the summer of 1972. The three were students together at Antioch College, Yellow Springs, Ohio where one of their teachers was renowned pianist, Cecil Taylor. After founding the band in Paris, performing in Holland and embarking on a “cultural odyssey” across Africa, the group recorded three independent albums (‘Lalibela’ in 1973, ‘King Of Kings’ in 1974 and ‘Birth / Speed / Merging’ in 1976) and became renowned for their striking live shows, mixing percussive, spiritual and space-age jazz with performance, theatre, and dance. After migrating to San Francisco to perform on the Bay Area arts scene, they disbanded in 1977 after a final show at the UC Berkeley Jazz Festival.30 years later The Pyramids reunited unexpectedly in 2007 following growing demand for their music from vinyl collectors and jazz fans and embarked on the first of many European tours beginning in 2010 featuring original members, as well as a fresh line-up including renowned percussionist Kenneth Nash. In 2012 the group signed to German label Disko B who released a new album, the freeform ‘Otherworldly’ and all three albums from their rare back catalogue. Idris was promptly presented with a Lifetime Achievement Award by DJ Gilles Peterson at his Worldwide Awards and The Pyramids were back, gaining a whole new legion of fans.For their new album, ‘We Be All Africans’, the group traveled to Berlin to hunker down in Max Weissenfeldt’s analogue Philophon studio. The result is a sparkling set of Afro- jazz-funk fusions, from the infectious chants of the title track to the reflective ‘Epiphany’ and the yearning, mournful future single, ‘Silent Days’ featuring the brilliant vocals of Bajka. Weissenfeldt released the first fruits from the sessions, ‘Rhapsody In Berlin’ as a limited 45 during 2015. The album features the full unedited version.

KEY POINTS:
– Brand new studio album by legendary jazz group recorded at Philophon studio in Berlin with Max Weissenfeldt
– Includes the single ‘Silent Days’ featuring vocalist Bajka
– release accompanied by full promotional campaign involving Idris Ackamoor and extensive touring, booked by Planet Rock
– album features superb illustrated artwork by Lewis Heriz

FOR FANS OF:Sun Ra and His Arkestra, Strata East, Black Jazz, Cecil Taylor, Phil Ranelin, Steve Reid, Oneness Of Juju, Charles Lloyd, Marcus Belgrave, Manu Dibango, Hastings Street Jazz Experience, Fela Kuti, Bajkawww Available from 27.05.2016

Africaine 808 – Rhythm Is All You Can Dance EP
Friday, July 24th, 2015 | Posted in Products | Comments Off on Africaine 808 – Rhythm Is All You Can Dance EP

Ahead of their highly anticipated debut LP due on Golf Channel this fall, the Berlin duo drop this little taster. The heavy, percussion driven analogue sound that is their trademark comes in two tight packages. The title track is all snaky rhythms and…

Africaine 808 – Lagos New York / Zombie Jamboree
Wednesday, March 26th, 2014 | Posted in Products | Comments Off on Africaine 808 – Lagos New York / Zombie Jamboree

Berliners Dirk Leyers and Nomad expressed their hard earned musical freedom in a dogma : The use of a Roland TR-808 analog drum machine in every single track. They programmed the machine to lay poly-rhythms over multicultural drum and percussion track…

Analog Players Society – Coule Ba
Thursday, July 25th, 2013 | Posted in Products | Comments Off on Analog Players Society – Coule Ba

Image: 1581563 Amon & the players @ The Hook Studio draw from West African influences & f/the incredible Missia Saran Diabate of Guinea on vocals. Benefit for the Red Hook Initiative for those affected by Hurricane Sandy. Red vinyl. Available from 05.07.2013

“Afro-Beat Airways” takes you on a fascinating musical journey through West Africa …
Thursday, July 22nd, 2010 | Tags: ,
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Organ-driven Afro-beat, cosmic Afro-funk and raw, psychedelic boogie … just some of the flavours to be found on this highly danceable compilation by Samy Ben Redjeb, founder of Analog Africa. No effort has been spared! To document these 15 irresistible tracks and the music scene from the 70’s, Samy crisscrossed the lengths of Ghana and […]

Hamad Kalkaba And The Golden Sounds – Hamad Kalkaba And The Golden Sounds
Monday, November 6th, 2017 | Posted in Products | Comments Off on Hamad Kalkaba And The Golden Sounds – Hamad Kalkaba And The Golden Sounds

Image: 1616443 “Hamad Kalkaba and His Golden Sounds 1974 – 1975” I remember the day clearly. I was searching for treasures in a record shop in Yaoundé, the Capital city of Cameroon, when suddenly I came across a 7-inch record with a picture of a young man wearing a traditional hat and bearing the marks of several imposing vertical scars on the side of his face, carved when he was just a boy as a reminder of his heritage in the Musgum tribe of the northern part of the country.

The record contained two songs – ‘Gandjal Kessoum’ and ‘Touflé’ – by an artist I had never heard of before named Hamad Kalkaba. Both cuts were raw classics of fuzzed-out bass, pin-sharp horns, built upon the unshakable foundation of Northern Cameroon’s mightiest rhythm: the Gandjal. The shop owner – who noticed that was listening to the same record over and over again – finally said to me ‘There is another single with a green cover of the same artist, if I am not mistaken’.

Over the next six years I searched for that ‘green cover’ and finally found it in a record collection belonging to an old bar in Parakou in northern Benin. While most of the records had been beaten and worn by a life spent in the jukebox, this one had been sitting in its paper sleeve for forty years, untouched and unplayed, seemingly waiting for us to pick it up and rip the two soulful Gandjal tunes from it, the masterpieces ‘Fouh Sei Allah’ and ‚Tchakoulaté’.

These two records, plus a third simply named ‘Nord Cameroon Rhythms’ constitute the entire discography of Hamad Kalkaba. Neglected for decades by all but the most devoted collectors of Afro music, Hamad Kalkaba and the Golden Sounds at long last gathers together the body of work of one of Cameroon’s forgotten geniuses.

But unlike many musicians who emerged from nowhere, recorded a few singles and vanished again, Kalkaba hadn’t disappeared. Far from it. He was a distinguished public figure, a retired Colonel in the army of Cameroon, and a former member of Cameroon’s Olympic Selection Committee. When we tracked him down he was serving as president of the Confederation of African Athletics. And Although Kalkaba’s job kept him busy, and he seemed initially dismissive of the music he’d made as a young man, he turned out to be an enthusiastic ally in this project. He arranged interviews, helped fill in the blanks and, when we finally met him in Yaoundé in 2016, provided us with photographs, lyric sheets and notes.

During the interview Kalkaba explained how the songs recorded in the mid 1970s were part of a movement, a movement initiated by musicians from all around Cameroon who, with the help of keyboards, drum kits and electric guitars, had started to modernize the traditional rhythms of their regions. For Kalkaba it was no different and backed by his band the Golden Sounds, devoted himself to the promotion of the sounds of northern Cameroon.

One of the aims of Analog Africa is to showcase the colorful diversity of styles that exist in Africa and its diaspora and today we are very proud to be able to give these Gandjal tunes their first worldwide release.

Tracklisting
1. Astadjam Dada Saré Hamad Kalkaba 03:40
2. Touflé Hamad Kalkaba 04:24
3. Fouh Sei Allah Hamad Kalkaba 04:48
4. Lamido Hamad Kalkaba 05:34
5. Gandjal Kessoum Hamad Kalkaba 05:14
6. Tchakoulaté 03:56 Available from 08.12.2017

Hamad Kalkaba And The Golden Sounds – Hamad Kalkaba And The Golden Sounds (1974 – 1975)
Friday, November 3rd, 2017 | Posted in Products | Comments Off on Hamad Kalkaba And The Golden Sounds – Hamad Kalkaba And The Golden Sounds (1974 – 1975)

Image: 1616442 Eines der Ziele von Analog Africa ist es, die bunte Vielfalt der Stile, die es in Afrika und seiner Diaspora gibt, zu zeigen. Heute sind wir sehr stolz mit der Veröffentlichung von “Hamad Kalkaba and His Golden Sounds 1974 – 1975” den Gandjal-Melodien aus dem Norden Kameruns ihre erste weltweite Veröffentlichung zu ermöglichen. Diese Zusammenstellung besteht aus drei Aufnahmen, einfach ‘Nord Cameroon Rhythms’ genannt, und bildet die gesamte Diskographie von Hamad Kalkaba. Über viele Jahrzehnte vernachlässigt, versammelt das Album endlich das Werk eines der vergessenen Genies Kameruns. Diese obskuren und atemberaubenden Afro-Melodien, alle zwischen 1974 und 1975 aufgenommen, kommen als 180g Vinyl mit einem Deluxe Gatefold inklusive eines fantastischen 8-seitigen LP-Booklets mit Interviews, Originalmanuskripten, handschriftlichen Notizen und exklusiven Bildern aus Kalkabas persönlichem Archiv. Die CD kommt in einem 8-Panel Tray mit ausführlichem Booklet. Available from 08.12.2017

Various – Afro Rock Vol.1
Friday, September 15th, 2017 | Posted in Products | Comments Off on Various – Afro Rock Vol.1

Image: 1553443 Reissue of the influential “Afro-Rock Volume One” on Strut!

Tracklisting:
A1. Jingo – Fever
A2. Geraldo Pino & The Heartbeats – Heavy Heavy Heavy
A3. Steele Beautttah – Africa
B1. Mercury Dance Band – Envy No Good
B2. Dackin Dackino – Yuda
C1. K. Frimpong & His Cubano Fiestas – Kyenkyen Bi Adi M’Awu
C2. Orchestra Lissanga – Okuzua
D1. Super Mambo 69 – Sweeper Soul
D2. Fathili & The Yahoos – Mabala
D3. Bokoor Band – Onukpa Shawarpo
D4. Nkansah And Yaanom – Pem Dwe
D5. Jingo – Keep On Holding On (Part 1) – Bonus Track

‘Afro Rock Vol. 1’ is one of the most important compilations of heavy original ‘70s
Afro funk and soul to be released in recent years. Originally surfacing on Duncan
Brooker’s indie Kona label in early 2001, the album single-handedly kick-started
the thirst among jazz, funk and soul fans and ‘diggers’ to rediscover lost music
from Africa made during the ‘60s and ‘70s from a time when many countries were
gaining independence and celebrating a Pan-African identity within their music. The
album was one of the frst to reach a far different audience to the traditional ‘world
music’ market and spawned many further projects and labels in its wake. A year
later, the ‘Nigeria 70’ compilation surfaced on Strut and labels like Soundway and
Analog Africa would continue to unearth amazing lost gems from the Motherland.
The album is testament to the determined work of Brooker following several
research trips, especially to East Africa – Kenya and Zaire. It brought to light East
Africa’s fnest funk band, Air Fiesta Matata, led by the recently deceased Steele
Beautttah, ‘The Nigerian James Brown’ Geraldo Pino from Port Harcourt in Nigeria,
and the storming Afro jam ‘Yuda’ by Dackin Dackino, a previously unreleased gem
from Zaire discovered on a discarded reel. The album has remained in?uential
since its release with tracks appearing on other Afro compilations and on TV and
the big screen – Jingo’s ‘Fever’ featured in Kevin McDonald’s 2006 hit flm, ‘Last
King Of Scotland’.
Out of print since 2015, the album is being reissued on Strut in its original form with
the extra dynamite unreleased psychedelic cut by Kenya’s Ishmael Jingo, ‘Keep On
Holding On’ taken from the original master tape. The package features the original
sleeve notes by Duncan Brooker along with new additional notes providing further
background to the album and tracks.

KEY POINTS:
– Groundbreaking African music compilation from 2002, first vinyl reissue since 2015
– includes Jingo’s ‘Fever’ featured in the film ‘Last King Of Scotland’
– Album features rare photo and sleeve notes by compiler Duncan Brooker
– Consistently in-demand album among DJs and fans of African rare grooves

FOR FANS OF:
Fela Kuti, Gilles Peterson, Soundway, Analog Africa, Ebo Taylor, Matata, Manu
Dibango, William Onyeabor, Oscar Sulley, Slim Ali, Geraldo Pino, Orlando Julius,
Vaudou Game, Orchestre Poly Rythmo Available from 29.09.2017

Los Camaroes – Resurrection Los
Saturday, September 2nd, 2017 | Posted in Products | Comments Off on Los Camaroes – Resurrection Los

Image: 1611757 — The electrifying final album from Cameroon’s legendary Los Camaroes, available on LP for the first time since 1979.
— Recorded live to two track at the Mango Bar in Yaoundé, Resurrection Los was the last collaboration between bandleader Jean Gabari and groundbreaking guitarist Messi Martin.
— Deluxe LP reissue features notes on the history of the band by original keyboardist Mbambo “Johnny Cosmos” Simon, plus all new interviews with producer Nicolas Mongué and engineer Emmanuel Guyssot.

Cameroon, 1978: it’s like any good western movie. A man drifts through the plains at the furthest edge of the country in search of two former gunslingers, hoping to coax them out of retirement for one last showdown. Except this time, the weapons are guitars and the gunslingers are Jean Gabari and Messi Martin – the calm sheriff and his hot-headed deputy – who had led the band Los Camaroes to superstardom at the beginning of the decade.

Los Camaroes emerged at the end of the 1960s from the town of Maroua in the northern, predominantly Islamic area of Cameroon. After changes in name, in lineup and in management, they worked their way south to the capital to make a name for themselves, in the span of only a few years they changed Cameroon’s music scene forever, leaving a trail of sold-out nightclubs and monster radio hits in their wake. Then, at the height of their popularity, they broke up.

The band had been led from the beginning by Jean Gabari, whose level-headedness and evenhandedness inspired the respect and devotion of his musicians. But it was Gabari’s alchemical collaborations with guitarist Messi Martin that drove the band to its greatest heights. Martin had developed an innovation that would earn him fame throughout Cameroon as the “king of Bikutsi”, as Johnny Cosmos explains:
“The primary instrument in Bikutsi is the balafon, and Messi came up with a trick that consisted of chewing small pieces of paper until they reached the right consistency and then stuck them between the strings of the guitar. This trick, which made a guitar sound like a balafon, catapulted him to stardom and turned him into the founder of Modern Bikutsi.” (Check the song “Bezimbi” to hear Messi Martin´s wizardry on a Bikutsi tune)

Martin’s extraordinary talents were matched by a character of great unpredictability. He had been lured away from the band before by the promise of success and, in 1975, when Los Camaroes were at the peak of their power, he left them once again. Gabari tried to keep the band going, but his own longstanding battles with ill health eventually forced him to return to his hometown. With Gabari and Martin gone, the rest of the musicians drifted away in search of other gigs. By 1978, Los Camaroes were no more than a rapidly fading memory.

But then came the resurrection.

From out of nowhere, a businessman named Atangana Joseph appeared in northern Cameroon. His goal: to track down the original members of Los Camaroes and get them back together for their one final shot at immortality. The musicians reconvened at the legendary Mango Bar in the capital city of Yaoundé, the very place where, years earlier, they had established their reputation as one of Cameroon’s most fearsome live bands.

Producer Nicolas Mongué and engineer Emmanuel Guyssot were called in from Douala to record what was being billed as a comeback album. There was talk of going into a studio, but Los Camaroes had always thrived on the energy of the nightclub scene, they decided instead to record it live to two-track in the Mango Bar.

The six tracks on the album were performed by a mixture of new recruits and veterans from the original Camaroes lineup – including Mpouli “Dodo” Emmanuel and Boloko Michel on Guitars, Eyango Claude on Organ, the percussion duo of Ndi Bellui and Enama Leon, and vocal contributions from Sala Bekono Joseph and Ngoebang Jean Marie – but the urgent rhythms and shimmering guitars sound like a band who simply picked up where they had left off. It seemed that everyone on the record was inspired by the exhuberant reunion between Martin and Gabari, the two magicians from which Los Camaroes had been born and born again

The album, Resurrection Los Vol. 1, was completed in only a few days. There would be no Volume 2. The music that emerged during the Mango Bar sessions was the culmination of a fifteen year musical bond between Gabari and Martin, and what was supposed to be a comeback album ended up being a last testament — Gabari would die only a few years later and Martin, without his foil, would never find the same level of musical success. Even at the time, these two titans of Cameroon’s music scene seemed to realise it would be the last time they would ever work together. The resurrection of Los Camaroes was short-lived … but it produced a masterpiece.

The Analog Africa Dance Edition reissue of Resurrection Los was remastered by Frank Merritt at the Carvery and comes with a wonderful poster housed in a deluxe gatefold sleeve featuring the story of the band as told by original keyboardist Mbambo “Johnny Cosmos” Simon, as well as new interviews with the production team who supervised the now legendary Mango Bar sessions. This essential slab of Cameroon’s musical history, previously unreleased outside of Africa, is available on LP for the first time since 1979.

Tracklist
1. Resurrection Los 6:53
2. Beton Sala 5:25
3. Miss Ya Ntem 4:40
4. Mindzuk Ya Enyin 5:43
5. Bezimbi 4:02
6. Mbembe Ndoman 5:22 Available from 29.09.2017

Various – Pop Makossa (2LP/Gatefold+Book)
Friday, May 5th, 2017 | Posted in Products | Comments Off on Various – Pop Makossa (2LP/Gatefold+Book)

Image: 1609765 Pop Makossa – The Invasive Dance Beat of Cameroon 1976–1984
The Pop Makossa adventure started in 2009, when Analog Africa founder Samy Ben Redjeb first travelled to
Cameroon to make an initial assessment of the country’s musical situation. He returned with enough tracks for
an explosive compilation highlighting the period when funk and disco sounds began to infiltrate the Makossa
style popular throughout Cameroon.
So why has it taken almost eight years from that first visit to the final compilation? From the very beginning,
there were several mysteries hanging over Pop Makossa.
What had happened to Bill Loko, the teenage super-star whose monster hit ‘Nen Lambo’ caused such a
sensation that he was forced to flee to the other side of the world? How did bandleader Eko Roosevelt go from
Cameroonian prodigy to chief of an idyllic seaside village? And who exactly was Mystic Djim, the dreadlocked
producer and mercurial hit-maker whose wizardry on a simple home four-track recorder could outshine even
the mighty studios of Cameroon’s National Radio station?
It was not until DJ and music producer Déni Shain was dispatched to Cameroon to finalise the project, license
the songs, scan photographs, and interview the artists that some of the biggest question marks began to
disappear. His journey from the port city of Douala to the capital of Yaoundé brought him in contact with the
lives and stories of many of the musicians who had shaped the sound of Cameroon’s dance music in its most
fertile decade.
Indeed, all the tracks on Pop Makossa are a revelation. The beat that holds everything together has its origins
in the rhythms of the Sawa people, Ambassey, Bolobo, Assiko and Essewé, a traditional funeral dance. But it
wasn’t until these rhythms arrived in the cities of Cameroon and collided with Merengue, High-Life, Congolese
Rumba, and, later, Funk and Disco, that modern Makossa was born.
Makossa, the beat that long before football, managed to unify the whole of Cameroon, was successful in part
because it was so adaptable. Some of the greatest Makossa hits incorporated the electrifying guitars and tight
grooves of funk, while others were laced with cosmic flourishes made possible by the advent of the synthesizer.
However much came down to the bass, and from the rubbery hustle underpinning Mystic Djim’s ‘Yaoundé Girls’
to the luminous liquid disco lines which propel Pasteur Lappé’s ‘Sekele Movement’, Pop Makossa demonstrates
why Cameroonian bass players are some of the most revered in the world.
Yet at the end of it all, there was still one final mystery facing the production team at Analog Africa: how was
this compilation of amazing sounds from Cameroon going to begin?
After many month and hundreds of different running orders, something still didn’t seem to click … until one
day they came across a mighty song entitled ‘Pop Makossa Invasion,’ recorded for Radio Buea, a tune so
obscure that even in Cameroon it had never been released. Suddenly the whole compilation fell into place. ‘Pop
Makossa Invasion’ makes its debut here and joins the pantheon of extraordinary songs that plugged
Cameroon’s Makossa style into the modern world.

Tracklisting
1. Pop Makossa Invasion – Dream Stars 4:48
2. Yaoundé Girls – Mystic Djim & The Spirits 5:57
3. Nen Lambo – Bill Loko 6:24
4. Sanaga Calypso – Pasteur Lappé 3:47
5. M´ongele M´am – Eko 4:03
6. Ngon Engap – Olinga Gaston 4:22
7. Ye Medjuie – Emmanuel Kahe et Jeanette Kemogne 4:27
8. Mininga Meyong Mese – Nkodo Si-Tony 7:10
9. The Sekele Movement – Pasteur Lappé 6:27
10. Mussoliki – Bernard Ntone 4:18
11. More Love – Pat´ Ndoye 8:33
12. Africa – Clément Djimogne 7:20

1xCD with 44-pages Booklet

2XLP Gatefold LP (140gr) with 20-pages LP size Booklet Available from 16.06.2017

Various – Pop Makossa
Friday, May 5th, 2017 | Posted in Products | Comments Off on Various – Pop Makossa

Image: 1609764 Analog Africa veröffentlicht seine 23. Compilation. Und wir glauben, dass mit “Pop Makossa” ein großer Wurf gelungen ist, der DJs, Tänzern und Musikfans gleichermaßen gefallen wird! Diesmal hat sich Samy Ben Redjeb gemeinsam mit Co-Compiler Déni Shain mehrfach auf die Spurensuche nach Kamerun begeben – auf der Fährte von legendären Musikern und Produzenten wie Bill Loko, Eko Roosevelt, Mystic Djim und Pasteur Lappé. Das Ergebnis liegt hier endlich vor: eine Compilation voller sommerlicher Dancefloor-Anthems, unglaublicher Bassläufe und einer besonderen musikalischen Mischung aus Merengue, High-Life, Rumba Congolaise Funk und Disco. Makossa!

– CD mit 44-Seiten Booklet
– 2LP Gatefold LP (140g) mit 20-Seiten LP Size Booklet Available from 16.06.2017

Vincent Ahehehinnou – Best Woman (LP/180g/Gatefold/Poster)
Friday, March 17th, 2017 | Posted in Products | Comments Off on Vincent Ahehehinnou – Best Woman (LP/180g/Gatefold/Poster)

Image: 1609311 In early 1978, Vincent Ahehehinnou left the Orchestre Poly-Rythmo de Cotonou without explanation. He had been one of their principal vocalist since 1968 and had helped transform them from a hard-charging nightclubband into a musical powerhouse and Africa-wide sensation. By the end of 1977, after an explosive performance at the pan-African arts and culture festival (Festac77) in Lagos, the band had reached the very pinnacle of their success.

For nearly forty years, the reasons behind Vincent’s sudden departure have remained a mystery. Until now. In an interview included with Analog Africa’s new reissue of Best Woman – Vincent’s first post-Poly-Rythmo album, which has been out-of-print for close to four decades and nearly impossible to find outside West Africa – the great singer finally breaks his silence. He didn’t leave … he was pushed.

Poly-Rythmo were already popular in their native Benin but, in the aftermath of Festac ’77, the band were poised for break-out success throughout Africa. One of the people who stood to benefit most was the band’s manager Adissa Seidou, whose label Albarika Store had released most of the band’s recordings. However Adissa’s vision for Poly-Rythmo didn’t always line up with that of the musicians and, more often than not, it was Vincent who spoke up for the band.

The two men grew increasingly estranged until one day – at the funeral for Adissa’s father no less – Adissa gave Vincent an ultimatum of sorts. In Vincent’s own words: ‘I asked him if there is a way we could sort out our differences to which he replied that the only solution was for me to leave the band, adding, “if not I will kill you”’. And so Vincent found himself forced out of the band he had helped build. He tried his hand at various business ventures, but soon realised that the pull of music was too strong. On a business trip to Nigeria, Vincent met with Ignace de Souza of Benin’s Black Santiago band, who agreed to arrange Vincent’s songs, assemble musicians, and book a session at the legendary Decca Studios in Lagos.

With everything in place Vincent returned to Cotonou, gathered together all the money he had saved over the years and set out again for Lagos. But the simple bus journey to Nigeria turned into a nightmarish odyssey of military corruption … and had it not been for the random kindness of an unknown woman on the bus, this album – along with Vincent’s subsequent solo career – might never have existed. Vincent tells the full story in the liner notes to this LP.

But Vincent did make it to Lagos and the sessions went ahead. The nine-piece band, handpicked by de Souza, learned the songs and set them to tape in the span of only a week … but the results are as timeless and essential as anything to emerge from West Africa in the late 1970s.

Vincent’s afrobeat credentials are in full evidence on opening track ‘Best Woman’ (English) whose driving beat, focussed horns and intricate vocal melody recall the raucous intensity of Poly-Rythmo. But the deep funk of the title track turns out to be only a warm-up for album-highlight ‘Maimouna Cherie’ (French), a moving expression of love and longing which kicks off with a hi-hat and wah-wah guitar workout but shifts gears mid-way into a more concentrated and contemplative groove.

The funk and afrobeat gems on Best Woman are balanced by songs that draw upon Sato, one of the many Vodoun rhythms of Vincent’s native Benin. Side one concludes with ‘Vi Deka’ (Mina), an epic slow-burner propelled by some of the record’s most soulful vocals, while album closer ‘Wa Do Verite Ton Noumi’ (Fon) all but dares you not to lose yourself in its sublime hypnotic trance.

Best Woman was released on Nigeria’s Hasbunalau Records in 1978, and original pressings are now highly-prized collector’s items. With this reissue on Analog Africa’s Dance Edition imprint – newly mastered by Nick Robbins, cut by to vinyl by Frank Merritt at the Carvery, and approved by Vincent himself – Best Woman makes a welcome and long-overdue return to turntables around the world.

This limited edition Vinyl is produced as 1x LP (180gr) in Gatefold with liner notes & pictures, 30×60 Inlay/Poster …

Tracklist
1. Best Woman 9:17
2. Vi Deka 9:20
3. Maimouna Cherie 8:39
4. Wa Ton Verité Ton Noemi 9:22 Available from 21.04.2017

Shadow – Sweet Sweet Dreams
Tuesday, November 15th, 2016 | Posted in Products | Comments Off on Shadow – Sweet Sweet Dreams

Image: 1607427 1984 erschien das Album “Sweet Sweet Dreams” von Trinidad & Tobagos Shadow (auch bekannt als Winston Bailey) und galt als “seiner Zeit weit voraus”. Unverdient wurde es von Kritikern verschoben und unfähig Märkte zu erreichen, verschwand das Album in den staubigen Plattenkollektionen einiger Musikfans. Mit Hilfe von Analog Africa startet diese kosmische Dancefloor-UFO nun mehr als drei Jahrzehnte später erneut, um seinen längst verdienten Platz im ‘Cosmic Disco Himmel’ einzunehmen. “Sweet Sweet Dreams” ist wahr geworden und bekam Holy Grail-Status als eine der begehrtesten Caribbean Disco Platten. Das Album erscheint als Digipak CD und LP im Klappcover plus Poster, mit ausführlichen Liner Notes und Fotos. Available from 16.12.2016

Various – Surinam Funk Force
Friday, September 23rd, 2016 | Posted in Products | Comments Off on Various – Surinam Funk Force

Image: 1604362 Nachfolger zur Compilation mit surinamesischen Disco- & Boogie-Sounds auf dem niederländischen Kindred Spirits Label aus dem Jahr 2012. Das Album enthält wieder mega-rare Singles und Albumtracks aus dem südamerikanischen Kleinstaat mit niederländischer Kolonialgeschichte, die in den 70er und 80er Jahren entstanden sind. Die zehn Songs wurden von Antal Heitlager und Thomas Gesthuizen kompiliert. Für Fans von Soundway, Analog Africa, Now Again, BBE und ähnlichen Labels. Available from 16.09.2016

Bitori – Legend Of Funaná (LP 180g/Gatefold)
Friday, June 10th, 2016 | Posted in Products | Comments Off on Bitori – Legend Of Funaná (LP 180g/Gatefold)

Image: 1604412 Analog Africa No. 21 „BITORI“ – Legend Of Funaná (The Forbidden Music of The Cape Verde Islands) – In 1997, a quiet, unassuming man of 59 years old named Victor Tavares – better know as Bitori – walks into a studio for the very first time to record a masterpiece which many Cabo Verdean consider to be the best Funaná album ever made.

Bitoris musical adventure had begun long before this point. It was 1954 when he embarked on a journey across the seas to the island of Sao Tomé & Principe. The young man´s hope was to return to Cabo Verde with an accordion.

Following two years of hard labour Bitori had succeeded in saving enough money to acquire what was to become his most valued possession, his cherished instrument. The two month journey back to Santiago, his island of birth, proved time enough to master it. Self taught, Bitori developed his own style, an infectious blaze, that quickly caught the attention of the older generation. Before long Bitori was being asked to share his musical talents, igniting the local festivities around Praia with his music.

But not everybody welcomed the rural accordion-based sound. Perceived as a symbol of the struggle for Cape Verdean independence and frowned upon as music of uneducated peasants, Funaná was prohibited by the Portuguese colonial rulers. Performing it in public or in urban centres had serious consequences – often jail time and torture awaited musicians that were “caught in the act”. In light of such persecution the genre of Funaná began to slowly disappear.

In 1975 Cabo Verde achieved independence from Portuguese colonial rule. Along with Cabo Verde’s independence came a lifting of the ban placed on Funaná. The musical repercussions in Cabo Verde were plenty – many upcoming artists embraced Funaná, translating and adapting its musical form in new ways. It was not to be until the mid-1990’s, however, that Funaná in its traditional form was actually recorded.

It was a young singer from Tarafal, Chando Graciosa, who was to play a key role in this event. Upon hearing Bitori, Graciosa immediately felt drawn to Bitori’s unique playing style – a raw and passionate sound accompanied by honest lyrics that reflected the harsh reality of the Cabo Verdean working class. He eagerly approached Bitori suggesting they join forces and travel overseas with the objective of taking Funaná beyond its rural roots. The two of them, with others in tow, achieved their goal and travelled to Europe, introducing a receptive European audience to the vibrant energy of Funaná. Eventually Bitori returned to his beloved Cabo Verde. Graciosa opted to settle in Rotterdam in order to pursue his career – he vowed, however, to bring Bitori across to Holland at a later date to record an album.

In 1997 the time was ripe to immortalise the sound Bitori had shaped over a time span of four decades. Built around a formidable rhythm section, formed of drummer Grace Evora and bass player Danilo Tavares, “Bitori Nha Bibinha” was recorded. The recording catapulted Chando Graciosa to stardom, making him Cabo Verde´s No.1 interpreter of Funaná.

The success in Cabo Verde was phenomenal and Funaná rapidly gained the recognition it deserved, especially in urban dance clubs. Bitori´s songs quickly became standards – classics known and loved throughout the country. The musical success, however, was solely limited to the Cabo Verdean islands – until now!

Analog Africa is proud to contribute to the worldwide promotion of Funaná – the once forbidden sound of the Cabo Verde archipelago – by releasing a worldwide re-issue of Bitori and Chando Graciosa´s legendary recording. The release will herald Bitori´s first European tour taking place during the summer of 2016. Watch this space! And listen!

Tracklisting
1. Bitori Nha Bibinha 5:39
2. Rabelado 5:19
3. Cruz Di Pico 5:42
4. Cabalo 5:28
5. Munana 4:19
6.Natalia 5:12
7.Julinha 4:58
8. Didi Di Réz 5:19

1 CD with 24-pages Booklet
1x LP (180gr) Gatefold with liner notes Available from 16.09.2016

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