Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia. Mesfin’s music is some of the funkiest to arise from this unconquerable East African nation. Mesfin’s recording career, captured in nearly two dozen 7” singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia’s 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation. Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums – the first time that his music has been presented in this form. These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin’s uber-rare 7” single releases and from previously unreleased recordings taken from master tapes. Wegene gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7” single releases. Contains an oversized 11” x 11” 16 page book that tells the story of modern Ethiopian music and Mesfin’s role within it.
Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia. Mesfin’s music is some of the funkiest to arise from this unconquerable East African nation. Mesfin’s recording career, captured in nearly two dozen 7” singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia’s 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation. Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums – the first time that his music has been presented in this form. These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin’s uber-rare 7” single releases and from previously unreleased recordings taken from master tapes. Mot Aykerim gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7” single releases. Contains an oversized 11” x 11” 16 page book that tells the story of modern Ethiopian music and Mesfin’s role within it.
Das erste in einer Reihe von super-seltenen und gefragten Originalalben des legendären Labels Albarika Store aus Benin, die auf Vinyl neu aufgelegt werden. Ursprünglich veröffentlicht 1978, damals noch ohne Schutztasche. Aufgenommen in den EMI Studios in Lagos, Nigeria, von den Originalbändern übertragen und remastert von Grammy-Gewinner Frank Merritt im Londoner The Carvery Studio.
Neuauflage dieser super-seltenen LP von 1978. Remastert von Grammy-Gewinner Frank Merritt im Londoner The Carvery Studio. Die einzig bekannte Aufnahme dieser obskuren Band und mit das Beste was der umfangreiche Katalog des legendären Albarika Store Labels aus Benin an Afro-Boogie und Afro-Funk zu bieten hat.
Limitierte Wiederveröffentlichung - Space Echo - das Geheimnis hinter dem "Cosmic Sound" von Cabo Verde wird endlich gelüftet! Im Frühjahr 1968 machte sich ein Frachtschiff im Hafen von Baltimore auf mit einer wichtigen Sendung von Musikinstrumenten auszulaufen. Sein Endziel war Rio de Janeiro, wo die EMSE Ausstellung (Exposição Mundial Do Son Eletrônico) stattfinden sollte. Es war die erste Ausstellung ihrer Art in der südlichen Hemisphäre, und viele der führenden Unternehmen auf dem Gebiet der elektronischen Musik beteiligten sich. Rhodes, Moog, Farfisa, Hammond und Korg, um nur einige zu nennen, waren alle eifrig ihre neuesten Synthesizern und andere Geräte in einem wachsenden und vielversprechenden südamerikanischen Markt zu präsentieren, angeführt von Brasilien und Kolumbien. Das Schiff havarierte acht Kilometer vor der Küste der Kapverdischen Inseln und so gelangten die Instrumente auf die Insel. Acht der insgesamt fünfzehn Songs die in dieser Zusammenstellung präsentiert werden, wurden mit Unterstützung der Band Voz de Cabo Verde, angeführt von Paulino Vieira, dem Drahtzieher und Schöpfer des "The Cosmic Sound of Cabo Verde", aufgenommen.
This is a recent recording straight out of Ethiopia, courtesy of the Sheba Sound crew.
Sheba Sound tour the Ethiopian hinterlands, capturing the mesmerising sounds of local talented musicians, using state of the art pop-up recording studios.
The process was captured in the highly acclaimed, award-winning documentary: Roaring Abyss, by Joaquin Piñero:
The hugely anticipated next release from the Sheba Sound archives, under license to NuAfrique (My45) features crazy, untapped talent of Nebeyu Hamdi, with the Sabat Bet Gurage Band, based in Welkite, western Ethiopia.
The original recordings from 2013 receive ethio-funk bassline overdubbing treatment from Addis Abeba's inspired masenko-bass man of the moment, 'Bubu' Teklemariam.
The full package receives ultimate mixing treatment at The Yard Studio by master dub producer Nick Manasseh (Roots Garden).
The B-side of this EP release features 3 exclusive ethio-dub cuts. Manasseh's inspiration of deep masenko bass and tribal drum rhythms is evident through his dub treatment of the originals. Playing the tracks back through his mixing desk like it was an instrument, the results are completely unique pulsating, punctuated Ethio-dub rhythm tracks.
Watch out Shaka – the Ethiopians are bringing their own dub cuts to town!
The mastering was done from the master tapes from the studio recording of the album. The cover is a reproduction of the original. The cover includes a Glossy finish in order to respect the original edition as much as possible.
Released in 1981, "Sibou Odja" is Orchestra Baobab's second studio album produced at the Golden Baobab in Dakar by the young producer Ibrahima Sylla. After their masterpiece "Mouhamadou Bamba" recorded the same year, "Sibou Odja" would once again mark the history of Senegalese music by propelling the group's success into a new musical decade. Under the direction of the hard-hitting saxophonist Issa Sissokho and the irremovable guitarist Barthélémy Attiso, it is notably the young singer future icon of Senegalese salsa Médoune Diallo who will deliver one of his masterpieces with the irresistible "Autorail", song locomotive which celebrates the opening of the railway line connecting Dakar to Niamey. The Baobab symbolizing both rooting in traditional Senegalese values and the tree's ability to reach new heights, the group's sound is a perfect syncretism of Senegalese and Afro-Cuban imaginaries in which the montunos of electric guitars and the Vocal improvisations in the Wolof language subtly blend with the rhythms of Cuban sound and other boleros.
Enthält zwei Alben, Femi Kuti's "Stop The Hate" und Made Kuti's "For(e)ward".
Jeweils in einer bedruckten Innenhülle mit Custom-Artwork von Delphine Desane
Untergebracht in einer Deluxe Hülle
Inkl. 8-seitigem Booklet mit Artwork, Fotografien und Texten.
It was in Benin City, in the heart of Nigeria, that a new hybrid of intoxicating highlife music known as Edo Funk was born.
It first emerged in the late 1970s when a group of musicians began to experiment with different ways of integrating elements from their native Edo culture and fusing them with new sound effects coming from West Africa´s night-clubs. Unlike the rather polished 1980´s Nigerian disco productions coming out of the international metropolis of Lagos Edo Funk was raw and reduced to its bare minimum.
Someone was needed to channel this energy into a distinctive sound and Sir Victor Uwaifo appeared like a mad professor with his Joromi studio. Uwaifo took the skeletal structure of Edo music and relentless began fusing them with synthesizers, electric guitars and 80´s effect racks which resulted in some of the most outstanding Edo recordings ever made. An explosive spiced up brew with an odd psychedelic note known as Edo Funk.
That‘s the sound you‘ll be discovering in the first volume of the Edo Funk Explosion series which focusses on the genre’s greatest originators; Osayomore Joseph, Akaba Man, and Sir Victor Uwaifo:
Osayomore Joseph was one of the first musicians to bring the sound of the flute into the horn-dominated world of highlife, and his skills as a performer made him a fixture on the Lagos scene. When he returned to settle in Benin City in the mid 1970s – at the invitation of the royal family – he devoted himself to the modernisation and electrification of Edo music, using funk and Afro-beat as the building blocks for songs that weren’t afraid to call out government corruption or confront the dark legacy of Nigeria’s colonial past.
Akaba Man was the philosopher king of Edo funk. Less overtly political than Osayomore Joseph and less psychedelic than Victor Uwaifo, he found the perfect medium for his message in the trance-like grooves of Edo funk. With pulsating rhythms awash in cosmic synth-fields and lyrics that express a deep personal vision, he found great success at the dawn of the 1980s as one of Benin City’s most persuasive ambassadors of funky highlife.
Victor Uwaifo was already a star in Nigeria when he built the legendary Joromi studios in his hometown of Benin City in 1978. Using his unique guitar style as the mediating force between West-African highlife and the traditional rhythms and melodies of Edo music, he had scored several hits in the early seventies, but once he had his own sixteen-track facility he was able to pursue his obsession with the synesthetic possibilities of pure sound, adding squelchy synths, swirling organs and studio effects to hypnotic basslines and raw grooves. Between his own records and his production for other musicians, he quickly established himself as the godfather of Edo funk.
What unites these diverse musicians is their ability to strip funk down to its primal essence and use it as the foundation for their own excursions inward to the heart of Edo culture and outward to the furthest limits of sonic alchemy. The twelve tracks on Edo Funk Explosion Volume 1 pulse with raw inspiration, mixing highlife horns, driving rhythms, day-glo keyboards and tripped-out guitars into a funk experience unlike any other.
Double LP pressed on 140g virgin vinyl comes with a full color 20-pages booklet
CD comes with a full color 36-pages booklet
‘GNAWA ELECTRIC LAUNE’ is the magical collaboration between Moroccan Gnawa-master (maâlem) Rabii Harnoune and Frankfurt electronic producer V.B.Kühl. Recorded at Achim Sauer’s 7V-Studio, collectively Rabii Harnoune & V.B. Kühl have produced an LP which represents entirely new territory, building a bridge from old to new, from Africa to Europe, and from to person to person. This melange of traditional North African Gnawa music and modern club sounds results in a fascinating debut, cross-cultural friction which is electric and otherworldly.
“Traveller” (out 19th March) is the first offering from the album, a tale that belongs to the repertoire of “L’Bouhala”, a story which roughly translates as symbolism for multiculturism in Gnawa culture. “Traveller” is a Gnawa-club fusion track that feels equally at home on the dancefloor as it does in its core spiritual home. “The traveller is a character in the culture of Gnawa” Rabii explains, “who is travelling from tribe to tribe, from village to city, looking for experiences and knowledge, then sharing it by singing about it”.
Gnawa music is among Morocco’s richest and oldest continuous traditions, dating back to pre-Islam. Rabii Harnoune joined the Kotab, a place where one can learn the teaching of the Quran, at the age of four. Growing up on a household diet of classical Arabic, Moroccan and Sufi music, Rabii was first introduced to Gnawa through his neighbour’s uncle who was a master in the genre. “Gnawa music was exclusively played by families whose parents came from Sub-Saharan or Central African tribes to Morocco in colonial times” Rabii explains, “it was rare to be able to listen to Gnawa music on radio, so I started to collect rare live recordings”. Rabii’s mastery at the Guembri, a three-string lute and Gnawa singing (a central aspect to the culture), would lead him to play world-class festivals in Essaouira, Fes, Marrakesh, and Casablanca – all spiritual centres for the genre.
V.B.Kühl realised his own musical vision and ambition when he inherited his first ghettoblaster (boombox) and bought a four-track recorder: “rhythm is deep in me, and although music is not my profession, the passion never stopped”. V.B.Kühl caught the attention of DJ Shadow with two stellar remixes, which would later lead to commissioned remixes by Tru Thoughts for acts such as Anchorsong and Lakuta. V.B.Kühl and album co-producer Achim Sauer founded t&TT together, a DIY label that was used as a vehicle to release both artist solo projects.
V.B.Kuhl and Achim first met Rabii while performing live at a house party of mutual friends. Rabii’s wish to release Gnawa music into the world lead to the trio collaborating and releasing ‘GNAWA ELECTRIC LAUNE’, twelve songs enriched with deep vibes and unstoppable grooves, an astonishing global mix of tradition and innovation.
Supported by the likes of Pedo Knopp (Analog Africa), Tom Ravenscroft (BBC 6Music), Dom Servini (Soho Radio) and Moroccan stations such as Medi1 Radio, ChadaFM and Radio Aswat, Rabii Harnoune & V.B.Kühl continue the legacy of Jimi Hendrix, Robert Plant, Randy Weston and more recently Bonobo, Floating Points and James Holden – in bridging together two different worlds, of Gnawa and Western musicians.