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Search Result for Genre WORLD
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2LP
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STAUB 151LP
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$23.50
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RELEASE DATE: 1/24/2020
Following on from the release of Modern Jazz Dance Classics Volume One (STAUB 148LP) in 2019, which was popular on the jazz underground, the Staubgold's Modern Jazz Dance Classics sub label returns with another compilation comprising mainly of contemporary artists carefully selected by DJ Jeff The Fish, this time on a Latin trip for Sol Vibrations: Latin Dance Movements. There are carefully selected tracks from all over the world to make a great set and selection, including three acts based in Catalonia (Tromboranga, The Santiago Acevedo Ensemble, and Antoine "Tato" Garcia), some from the US (Camille, EC3), the UK (Alex Wilson, Born 74), France (Mayomi, Camarao Orkestra), Japan (Jizue), Brazil (Fabio Chagas), Cuba (Jean Pablo Torres), and Uruguay (La Calenda Beat).
For some time now in the continual hunt for new DJ material to play in the jazz scene, the Modern Jazz Dance Classics label (a division of Staubgold) has been coming across great tracks by current artists that are often only available on digital or CD format. The brainchild of French based DJ Jeff The Fish and Markus Detmer at the Staubgold record label in Germany, MJDC aims to provide DJs with this new music on vinyl and inject new sounds into the jazz dance scene.
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7"
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ROOTS 017EP
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$12.50
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RELEASE DATE: 12/6/2019
Classic roots reggae tune from 1978 by a legend of reggae music Cornell Campbell. Wicked horns on this one. Full color vinyl sleeve; Licensed from Phil Mathias; Remastered by Equus; Edition of 500.
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7"
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ROOTS 023EP
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$12.00
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RELEASE DATE: 12/6/2019
Killer piece of 1977 Black Ark magic from Earl Daley, Lee Perry, Steely, Albert Malawi, and Dalton Browne. Original roots reggae by the man Earl Sixteen, recorded and produced in classic Lee Perry style! Full color vinyl sleeve; Licensed from Lee Scratch Perry; Remastered by Equus; Edition of 500.
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7"
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ROOTS 022EP
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$12.00
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RELEASE DATE: 12/6/2019
Obscure little Black Ark roots tune produced by Lee Perry. "Brother Noah" is a harmonic re-telling of the biblical flood by The Shadows, three singers named Sam, Don, and Errol. First time reissue on 7" vinyl. Full color vinyl sleeve; Licensed from Lee Scratch Perry; Remastered by Equus; Edition of 500.
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7"
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ROOTS 016EP
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$12.50
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RELEASE DATE: 12/6/2019
Heavy hitting roots rarity by Winston Jarrett, produced by Dillinger and first released in 1983. Full color vinyl sleeve; Licensed from Dillinger; Remastered by Equus; Edition of 500.
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10"
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NNT 017EP
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$16.50
PREORDER
RELEASE DATE: 12/6/2019
Roving punk ethnomusicologist Julien Hairon, aka Judgitzu, delivers fire on Uganda's Nyege Nyege Tapes with two cuts of high tension, cheek-pulling club G-force. After spending the past six years recording soundscapes and traditional musicians across Asia, Oceania, and Africa, and releasing them on his Les Cartes Postales Sonores label (along with reissues of tape and CD discoveries on his petPets label), Judgitzu's finally presents his first electronic music productions as the result of his residency in Tanzania since 2017. Clearly inspired by the domestic, hyperlocal sound of Singeli, but more stripped and tipped towards minimalism, the results have been lighting up clubs, back-rooms and festivals from Kampala to Salford and beyond over summer 2019, and are only set to go further with this full release. "Umeme" is grade-A rocket fuel that runs at 180bpm for nearly seven minutes of unyielding, panic-inducing stabs and undulating bass rhythms. It starts up ferociously and does not let go until the end, sustaining a state of high alertness that will leave even the most reckless ravers breathless but ready to go again. "Kelele" follows with equal regard for your heart rate and rave health, but this time by stealth and less in-your-face, filtering the drums with field recordings of revving motorbikes and squawking animals in an ebb and flow of pilly rushes and tropical hyperdelia. Hands-down it's one of 2019's deadliest dancefloor sessions and hopefully the start of many to come from an exemplary new producer.
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7"
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ROOTS 021EP
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$12.00
PREORDER
RELEASE DATE: 12/6/2019
1978 tune by living reggae legend Lee Perry. "Captive" revealed the continual enslavement of black people in the West, calling for mental and spiritual liberation. The Upsetters dub it on the B-side. Full color vinyl sleeve; Licensed from Lee Scratch Perry; Remastered by Equus; Edition of 500.
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LP
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CREP 071LP
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$22.00
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RELEASE DATE: 12/6/2019
"In this 24-minute composition, released here in its original name for the first time, Raed Yassin encapsulates and condenses the aural and sonic landscapes experienced by those who bore witness to the war. In the 1980s, while the Lebanese Civil War, which ravaged the country between 1975 and 1990, was raging, television but particularly transistor radios were the only means through which people heard the news during interminable periods of power cuts or waiting in basement shelters. The audio material was collected by Yassin on his regular trips to the dispersed and neglected archives of militias and political parties, radio, and TV stations, and record shops across Lebanon. Built from over 300 hours of material, Yassin has woven together a composition using political speeches; radio and television commercials; news flashes and jingles; local '80s pop music; dubbed Japanese anime songs; propaganda, resistance, and revolutionary party songs; snippets from Ziad Rahbani plays, and many more. The recordings in CW Tapes are the sonic equivalents of Proust's madeleines to any individual who was old enough to remember the war and its immediate aftermath. Commercials, songs, and speeches collide and intertwine as if Yassin had plugged a radio tuner into his mind, sounding out a deeply personal sonic terrain that echoes the hidden sonic memories of his contemporaries. Beside the diversity of its sounds, what is most striking in this record is the minute attention to the musicality of the different recordings Yassin uses, whether they are propaganda pieces, vocal patterns or news jingles. What you hear in the beginning of the CW Tapes, for example, is Raed Yassin's fascination for the different political and musical figures that populated the Lebanese media landscape across the 1980s. In this bewildering introduction, he highlights the absurdity of the war by lacing together a political speech given by Bachir Gemayel with a frivolous and upbeat pop song by Lebanese pop singer Sammy Clark whose tunes are heard at different moments in the piece. The composition unfurls an array of overlapping tonalities and textures as well as a glossolalia made of processed voices that inhabited the archaic technologies of the time . . . In his continuous efforts to mine and work through the sonic archives of Lebanon's recent past, the CW Tapes is possibly Yassin's most personal output to date." --Rayya Badran, Beirut, January 2019 Mastered and Cut by Rashad Becker
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LP
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AKU 1019LP
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$23.00
PREORDER
RELEASE DATE: 12/6/2019
The prolific Kink Gong (aka Laurent Jeanneau) returns in a unique duet with one of the most prominent artists of the Chinese avant-gardist scene, Li Daiguo. Kink Gong and Li Daiguo first met in Chengdu (capital of Sichuan Province, China) while playing the same night at the Jahbar music venue. A few months later, as they become neighbors in Cai Cun, a village near the old town of Dali (Yunnan), Kink Gong begins recording Daiguo playing pipa, cello, and zheng. He then proceeded to deconstruct these recordings while adding voices that he mainly recorded in Yunnan Province. This fantastic combination of field recordings, experimental folk melodies, and electronic treatment leads its listeners to a fourth underground universe reminiscent of Jon Hassell's finest hours. Includes download.
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12"
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SNDW 12040EP
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$15.50
PREORDER
RELEASE DATE: 12/6/2019
Soundway presents two rare, Parang dancefloor cuts from early 1980s Trinidad & Tobago. Parang is a style of folk music that originated from Venezuelan and Colombian immigrants that came to the Caribbean, and evolved to include elements of Latin music, disco and soca -- as is evident in this release. Although traditionally played during the festive season in Trinidad and Tobago, parang music continues to heat up dancefloors all year round. These two in-demand tracks were originally released on the local RH Productions label in Trinidad & Tobago. Fully restored, remastered, and officially licensed -- both are now repressed for the first time on vinyl. A track each from Colleen Grant and Sandra Hamilton. For fans of: Body Beat compilation (SNDW 132CD/LP), Rebles' Sweetest Taboo single (SNDW 12036EP), The Millers' Easing single (SNDW 12037EP), Steve Monite/Tabu Ley Rochereau edits (SNDW 12025EP), Voilaaa, Nu Guinea.
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LP
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PHS 066LP
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Nese Karaböcek is a popular Arabesque singer and film/TV star from Turkey. She started singing at a very young age and has a vast recording career. Yali Yali is a selection of her grooviest tracks from the '70s, including the massive psych-funk dancefloor bomb title track plus other fabulous examples of Anadolu pop-funk, mixing Turkish melodies and instruments with disco arrangements, Moog keyboards, funky drums... and more! Remastered sound; Color insert with photos.
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LP
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AKU 1018LP
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$23.50
PREORDER
RELEASE DATE: 12/6/2019
Akuphone presents Saz Û Dilan, the second solo album of Rizan Said. After King Of Keyboards, (CREP 034LP, 2016) this release brings the most exciting Kurdish-Syrian dance music to one's ears. Surrounded by young local singers, Rizan offers his own interpretation of the modern dabke through eight original uptempo compositions full of energy. Rizan Said is a composer, musician and producer, responsible for hundreds of Syrian recording industry productions as well as compositions and themes for television and cinema. Hailing from Ras Al Ain, in northeastern Syria, Rizan was a musical prodigy from a young age -- a gifted player of percussion and reed instruments before a wealth of synthesizers began flooding Syria in the late 1980s and early 1990s. Steadfast on the Syrian cassette album circuit at the time, Rizan was already sending his signals out from the Jazeera frontier, thanks to a partnership with local Syrian producer Zuhir Maksi. Later, he was the man behind Omar Souleyman's music and has recorded and toured across the world with him. Nowadays, he performs as a solo artist and brings the original dabke dance sounds of Syria to European festivals and concerts. Includes download.
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LP
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VAMPI 202LP
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$25.00
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RELEASE DATE: 11/22/2019
"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 dancefloor standards across the globe, making this record a must-have for collectors, disk jockeys and aficionados of the classic Fuentes sound." --Pablo Iglesias, aka DJ Bongohead
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CD
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GB 083CD
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On the front cover of Saharawi singer-songwriter and activist Aziza Brahim's new album, Sahari, a young girl poses in ballet shoes and a glistening white tutu. It's a common childhood scene, but it's tipped upside down. She's an exile, living nowhere near her homeland, and behind her stand the tents and buildings of a refugee camp. There's a desert on the ground and a burning sky above. Yet even in this bleakness, she has optimism. She believes in a better future. The music Aziza Brahim makes reflects both the sorrow and the hope of these people. She grew up in one of those camps in the Algerian desert, along with thousands of other Saharawi who were removed from their homes in the Western Sahara. Her grandmother was a famous Saharawi poet, her mother well-known as a vocalist, and they passed their strength and fearlessness to her. Now, as one of North African most lauded singers, Brahim uses her position to make the plight of her people known -- and of the refugees across the world who have no choice but to exist in the camps. Sahari is for them as much as it's for her own family. The political remains intensely personal for Brahim. She lives in exile, in Spain, and the music for Sahari -- her third album for Glitterbeat -- was written there. And while her songs remain grounded in her homeland, her gaze is increasingly global. To achieve that, Brahim worked with the acclaimed Spanish artist Amparo Sánchez of the band Amparanoia on the album's pre-production, and the collaboration has made a transformative impact on the music. The focus is broader, with programming and keyboards a vital part of the new sound. The different approach extends to the very root of Brahim's music, the tabal drum that's been the heart of Saharawi music for centuries. The process was made smoother by having a sympathetic band who've been with her for years. All the members played a part in framing the new material. When Brahim began as a composer, her work reflected her own reality, growing up in the far, rocky desert known as the hamada. These days she's become a voice for refugees across the globe, and what she sees every day on the news has inevitably affected her writing. Perhaps Aziza's empowered, healing music, can help refuel our sense of justice and compassion.
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CD
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CLE 027CD
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In the early 1970s, a devastating drought brought famine to the West African Sahel. This environmental disaster destroyed the region's agricultural and livestock economy. Millions of people were affected. International relief efforts tried to send emergency aid. "Les Bateaux", the title track of this album, recalls those hard years. It paints a scene of Malian villagers standing on the banks of the Niger River anxiously awaiting the boats carrying food. Mamadou Kelly remembers those years as he calls out the name of each boat's longed for appearance over the horizon. Kelly sings about life. He praises and thanks those who do admirable things. He evokes the spirits of collective memory. Seemingly simple, upon listening, his songs reveal multi-layered complexity. He is a master of the desert blues. His group on this album includes longtime colleague Aly Magassa (electric guitar), Kande Sissoko (ngoni), and Hamadoun "Afo" Guindo (percussion). They are joined on tracks by Malian musicians Adama Sidibe (balafon(, Madou Diabate (violin), and Hama Sangho (backup vocal), as well as American friends Jacob Silver (bass), Cindy Cashdollar (lap steel guitar), and David Rothenberg (clarinets). Les Bateaux was recorded live in Bamako and New York. The tracks were mixed in New York and Los Angeles, and mastered in New York. CD version contains four bonus tracks including a techno remix by David Harrow as well as Dave Cook's remix of two tracks from Kelly's recent EP, Ni Allah.
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LP
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INF 004LP
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$30.50
PREORDER
RELEASE DATE: 11/22/2019
Infopesa present a reissue of Manzanita Y Su Conjunto's Arre Caballito, originally released in 1970. Bernardo Hernández, born in the district of Laredo (province of Trujillo), had a predominant role in shaping the origins of Peruvian Cumbia. Under his artistic name, Manzanita, he showcased his prodigious talent as a guitar player through years of live performance. Manzanita discovered his passion for the guitar at an early age, joining his older brother in various performances of Criollo music. In 1962, he was part of the group called Los Pacharacos (later Los Pachas), where he stood out thanks to his guitar skills and a sublime fusion of tropical rhythms and Huayno. His compositions and performances, imbued with full-blooded inventiveness, were seen by hundreds across the region. Manzanita, along with Enrique Delgado (from Los Destellos), must be credited as leading figures and founders of Peruvian Cumbia -- a genre that differs from other variants of Cumbia due to the inclusion of the electric guitar. In, 1968, Bernardo Hernández formed his own group. He met musical producer Alberto Maraví who, upon witnessing his talents, decided to collaborate with him in the release of his first 45RPM; this recording included the songs "Arre Caballito" and "La Parada". But all these plans needed something else to propel the artist toward superstardom: a no-nonsense commercial name. One day, Alberto Maraví asked him if he had any nicknames as a kid and he responded: "Manzanita". Maraví said, "BINGO!" And the rest is history. That same year, the track "Arre Caballito" became an instant hit in Peru. Its record-breaking sales and commercial success led to the recording of Manzanita's first LP, which was released in 1970 and also titled Arre Caballito. This LP was yet another triumph for the guitarist who was only 27 years old at the time. It became the key that opened the door to the bright beginnings of the Peruvian Cumbia. This legendary vinyl returns, renewing and confirming Manzanita's title as "The Greatest Peruvian Guitarist", reacquainting fans with his mesmeric music and paying homage to his legacy. Remastered at Infopesa's studio by Aldo Montalvo under the direction of Juan Ricardo and Alberto Maraví, who produced and oversaw the original mastering of the record in 1970. Reinterpreted artwork using the original cover by Peruvian collage master, Yerko Zlatar. Includes Spanish/English liner notes.
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CD
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RR 339CD
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$14.00
PREORDER
RELEASE DATE: 11/22/2019
Radiation Roots present a reissue of Shorty The President's Fire Fire, originally released in 1979. Jamaican deejay Shorty The President may have been one of the more obscure figures to rise from the Kingston sound system scene, but the impact he made on vinyl recordings during the 1970s is no less important and his work remains coveted by reggae connoisseurs. Born Derrick Thompson in rural Trelawny in 1949, like many of his peers, he moved to the Jamaican capital as a teenager in search of better opportunities. As he gravitated to the Rastafari faith, an affiliation with the sound system Conquering Lion sparked interest from producer Rupie Edwards, who produced debut hits "President Mash Up The Resident" and "Yamaha Skank". Edwards issued debut album Presenting Shorty The President in 1976 and after sparse work for Enos McLeod, Joe Gibbs, Pete Weston, Winston Riley, and Keith Hudson, sophomore album Fire Fire was produced by Bunny Lee in 1978, with Shorty riding typically tough Aggrovators rhythms of the day, including Ronnie Davis's updated version of Bob Marley's "Kaya" and The Cables' "Baby Why", Delroy Wilson's "Have Some Mercy", and Barry Brown's take of Wilson's "I'm Not A King", as well as killer cuts of Brown's "Natty Roots Hold Them" as "Roots Man" and "Best Thing In Life" as "Do My Thing". Includes liner notes by David Katz.
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RR 336CD
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$14.00
PREORDER
RELEASE DATE: 11/22/2019
Radiation Roots present a reissue of Eric Donaldson's self-titled album, originally released in 1971. Eric Donaldson's soaring falsetto has made him one of Jamaica's best-loved vocalists. Born in the country town of Bog Walk in 1947, Donaldson cut some ska material at Studio One in 1964, which never surfaced, and went on to form The West Indians vocal trio at the tail end of rock steady, enjoying minor local hits for Sir JJ and Lee "Scratch" Perry. Winning the annual Festival Song Competition with love ditty "Cherry Oh Baby" in 1971 saw him team up with former Jamaicans vocalist Tommy Cowan and hit-making producer Bunny "Striker" Lee, the subsequent recording of the tune at Dynamic Sounds studio resulting in a spectacular success around the world and subsequent hit cover versions by The Rolling Stones and UB40, among many others. This self-titled debut album was recorded at Dynamics in the wake of the hit with the set of upcoming players known as The Inner Circle, which then featured future members of Third World such as keyboardist and arranger Ibo Cooper and guitarist Cat Coore; along with the enduring "Cherry Oh Baby", there is a popular cover version of the doomed romance saga, "Sylvia's Mother" and an individual rendition of "Love Of The Common People", as well as the castigating "Miserable Woman", all popular with reggae fans at home and abroad. Includes liner notes by David Katz.
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AR 131LP
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2LP version. Gyedu-Blay Ambolley was born on the 11th Street in Sekondi, Ghana 72 years ago. On the cover photo, on the right side, is the house of his birth, which was also his parental home. The Ghanaian legend's latest release 11th Street, Sekondi shows off a pride in his heritage, and his honed talent for mixing highlife with other genres like rap, Afro-funk and disco Ghanaian highlife. 11th Street, Sekondi is his 31st album since his debut in 1973. The charismatic stage personality, no stranger to mixing humor into his music and who has performed alongside Afrobeat legend Fela Kuti and highlife bandleader Ebo Taylor, has been a record collector's staple since his appearance on the seminal Ghana Soundz (SNDW 001LP, 2002), which re-introduced the world to his trademark Simigwa style. Highlife, which started in Sierra Leone and Liberia, took hold in Ghana in the 1940s as a coming together of the musicians fed up with the foxtrot and quickstep parties originally hosted by English colonists. It began with big band horns and happy lyrics, popularized by artists such as E.T. Mensah, before opening up in the '50s and '60s with a wave of guitar-driven, socially conscious and more danceable Afro-funk hits -- a product of the easy movement of people between Nigeria and Ghana. It was then that Ambolley's trademark baritone vocals burst onto the scene, under the tutelage of close personal friend Taylor. Ambolley's latest album, named after the area of West Ghana in which he grew up, is a look back at the area and musical styles that shaped the musician's life. "Black Woman" is a funky number that opens the album with Ambolley on a tenor sax solo, while tracks like "Little Small Girl" showcase his renowned James Brown-influenced vocal flourishes. Soul, jazz, blues, and comedy are present -- in keeping with his fervent belief that music must always be entertaining for the listener. The album is the second of his to be released German label Agogo records, after the acclaimed Ketan (2017). It also stays true to highlife's social ambitions, with reflections on the misguided pursuit of European ideals ahead of African values. Ambolley's career has been filled with accolades, including a Lifetime Achievement Award from the Charles R Drew University in Los Angeles, and formal recognition from the Ghanaian Embassy in Washington DC for producing the first ever commercially recorded rap album.
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CD
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HAB 010CD
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$16.00
PREORDER
RELEASE DATE: 11/22/2019
"Issam Hajali is most known as the singer and composer of the Lebanese band Ferkat Al Ard. While they recorded 3 albums only their classic 'Oghneya' saw a vinyl release and is highly sought after in the Lebanese record collector scene (A copy changed hands in Beirut this year for 5000 USD). Before the band came together, he recorded this debut album in Paris in 1977. This rare album fuses jazz and folk with Arabic and Iranian influences into unique beauty. It was only released in a limited run of 75 cassette tapes and is now officially licensed and reissued by Berlin based Habibi Funk Records."
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LP
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HAB 010LP
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$23.00
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RELEASE DATE: 11/22/2019
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LP
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VAMPI 206LP
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$25.00
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RELEASE DATE: 11/22/2019
"... Roberto de la Barrera was arguably the first cartagenero to record music that would later be labeled 'tropical' and 'salsa' with his group Roberto de la Barrera y su Sonora, starting off with cumbia, porro, charanga, and pachanga in the early to mid-1960s, and ending the decade with guaguancó, guaracha, descarga and son montuno, leaving a handful of gems for posterity, such as 'El Baile De Los Cocacolos', 'Vamos A Guarachar' and 'Se Formó' from the earlier period and 'Se Formó La Salsa', 'Mi Sonora' and 'Oye Mi Ritmo' as the 1970s began. After taking the piano seat in the Discos Fuentes house orchestra and being hired in 1964 by label boss Antonio Fuentes as the regional musical director in the Caribbean area (based in Cartagena), where he subsequently discovered, signed and produced a lot of local talent, the following year Roberto de la Barrera y su Sonora recorded Pa' Los Cocacolos, his first long play under his own name for the label, succeeded by ¡Pa' cumbanchar! and finally Se Formó La Salsa in 1970. All of his arrangements feature an interesting mix of Colombian and Cuban flavors, sometimes within the same tune, and often with that wonderful raw, loose, improvisational quality associated with the 'descarga' jam sessions of Cachao and others a decade before. Perhaps the best example of this is 'Mi Sonora' from Se Formó La Salsa, where the vocalist Felipe Sembergman actually name-checks New York's famous Village Gate, home of many Latin jazz and salsa concerts at the time, thus making the connection explicit between what was beginning to catch on in Colombia as "salsa" and its New York Latin roots. Whatever the case, immediately in Roberto de la Barrera's wake, a whole slew of groups from the coastal regions started performing in this style . . . Sometimes the Colombian 'salsa' sound was mixed, at other times the genres were kept separate, but a certain Caribbean aesthetic carried its way through everything these artists did, and Roberto de la Barrera was a pioneer in introducing modern Latin sounds from Havana, New York and San Juan..." --Pablo Iglesias, aka DJ Bongohead Presented in facsimile artwork and pressed on 180 gram vinyl.
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CD
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RR 340CD
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$14.00
PREORDER
RELEASE DATE: 11/22/2019
Radiation Roots present a reissue of Sugar Minott's The Leader For The Pack, originally released in 1985. Sugar Minott is part of the pantheon of Jamaican roots reggae icons, one of a handful of singers that indelibly changed the course of the music and helped it reach a broader overseas audience. Raised next door to one of Jamaica's most popular dancehalls, in the heart of a notorious west Kingston slum, Minott joined The African Brothers in the mid-1970s, making an impact with singles for Rupie Edwards, Clive Chin, and Micron Music, as well as with self-produced work, but the breakthrough came when Sugar went solo for Studio One, spearheading the reuse of classic rhythms at the facility for new purpose. He later moved away from Studio One to record sparse work for Prince Jammy, Mikey Dread, and other smaller producers but the main focus was Black Roots/Youth Promotion, the record label and sound system he established himself. Then, following smash hit "Good Thing Going", Sugar helped to launch the careers of dancehall stars like Tenor Saw and Nitty Gritty. The Leader For The Pack album was produced by Bunny Lee in 1985 at The Rock studio in London, established by Gibraltarians Danny, Eddy and Henry. Sugar's first fully synthesized album, it was arranged by Jackie Mittoo and revived classic rhythms of the past with minimal, synth-driven backing, including "Everybody Needs Love" as "This Is Rockers Music", alongside a great cut of "Sleng Teng" for the title track; "Them Have To Come A We" was co-written by fellow icon, Gregory Isaacs. Includes liner notes by David Katz.
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12"
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JD 047EP
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Celebrating the label's 25th anniversary, Far Out Recordings presents a series of limited-edition vinyl 12"s highlighting its contribution to underground dance music. Including reissues of sought-after floor-fillers, previously unreleased club tools and brand-new productions from some key players in Far Out history, the series begins with Global Communication's "Space Jazz" remix of Azymuth's "Jazz Carnival'. One of the label's most requested reissues, it's a typically timeless effort from the duo comprising Mark Pritchard and Tom Middleton and has stayed relevant within the house/techno canon for over twenty years. The A side presents the original LP version of Azymuth's 1996 redux of their all-time classic, instrumental disco hit "Jazz Carnival", which originally appeared on Azymuth's first full-length venture on Far Out, Carnival (1996). Presented in a special 25th anniversary house bag, the full-length 12-minute version of this all-time classic has been re-mastered from the original DAT and pressed to heavyweight vinyl. 180 gram vinyl.
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LP
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VAMPI 203LP
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$25.00
PREORDER
RELEASE DATE: 11/22/2019
"Although Pete Vicentini's El Afrocombo did not have the overwhelming commercial and international success of Fruko y sus Tesos, Joe Arroyo y La Verdad, or Grupo Niche during the height of Colombian salsa in the 1970s and '80s, Pedro 'Pete' Luis Vicentini del Valle (born in 1946) and his combo did have a popular following among fans in the Atlantic and Caribbean coastal areas of Colombia . . . In addition to founding what would become El Afrocombo, Vicentini was associated for several decades with the popular singer Jackie Carazo and was a member of Carazo's El Clan Antillano as well as Chico Cervantes y su Sonora Caliente. Pan Con Salsa is Vicentini and El Afrocombo's first long play and was released in 1971. As the title (and humorous cover) suggest, the majority of selections on the record are in the salsa genre that was gaining steam at the time in South America. In reality, though, the album includes Vicentini's native costeño rhythms like cumbia and porro as well (on the tunes 'Barranquilla, Sol Y Cumbia' and 'Tus Lindos Ojos'). The LP has its own lively 'combo' sound in the plucky brass section (two trumpets and two saxes), plus the always bright and happy piano stylings of Willy Newball and of course the prominent bass playing, expert direction and arrangements of Vicentini. Additionally, the record contains the band's first hit, 'El Huevo', which is a cover version of Peruvian vocalist Félix Martínez's popular 1971 tune in the guajira genre with Lima's Los Girasoles, 'Ese Huevo Se Pasó'. In addition, there are some super hot original salsa tunes like 'Mira Muñeco' and 'La Fiesta Del Mar', a funky boogaloo cover of Tito Puente's ubiquitous 'Oye Cómo Va' (with a cool clavinet solo), a Puerto Rican style bomba written by Carazo, and the title track, composed by Vicentini, which is a frenetic descarga (jam session) with lots of tasty brass solos, in-the-pocket piano tumbaos (riffs) and break-neck percussion work-outs. This album is definitely a persuasive argument for including the unjustly obscure El Afrocombo in the pantheon of hot Antillean-inspired bands from Barranquilla and proof that Colombia's Caribbean coastal region was instrumental in pioneering the popularity of domestically produced salsa there in the 1970s, helping it spread into the interior and from there internationally by the '80s and '90s." --Pablo Iglesias, aka DJ Bongohead Presented in facsimile artwork and pressed on 180 gram vinyl.
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