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Search Result for Genre WORLD
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LP
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KSLP 087LP
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$20.50
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RELEASE DATE: 3/25/2022
LP version. Rock Steady Cool is another fine collection of rocksteady hits. The "Cool" subtitle could not be more relevant to an album, as around 1966, an extreme heatwave hit the Jamaican island. This would not stop the all-night dances from going ahead but the jerky ska rhythms proved too strenuous of an activity to partake in, so a new slower beat to suit this extreme weather had to be found and the ever-resourceful music entrepreneurs came up with the slower paced beat and rocksteady was born. This two-year rocksteady period ran until 1968 and would see some of the power escape from the big three producers, Clement "Coxone" Dodd, Prince Buster, and Duke Reid. It was time to make room for a new wave of up-and-coming producers that also had something to offer the people. Such names as Joel Gibson (Joe Gibbs), Sonia Pottinger, Derrick Harriott, and most prolific of them all, Mr Bunny Lee would step forward and add some new musical touches to the island. Rocksteady was an inspirational and somewhat overlooked sound that provided some outstanding music. So, sit back and enjoy some rocksteady straight from the dances of Jamaica. Features The Rudies, Derrick and Patsy, Alton Ellis, The Imperials, Bunny and Bunny, Junior Smith, The Soul Flames, Rico, Fitz & The Coozers, Bobby Kalphat, The Rudies, Derrick Morgan, and Fredrick Bell.
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LP
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VAMPI 251LP
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$27.00
PREORDER
RELEASE DATE: 3/25/2022
Vampisoul present a first time reissue of Wganda Kenya's self-titled album, originally released in 1976. According to Fruko, Wganda Kenya was formed at the request of José María Fuentes in 1974. Fuentes came to Fruko with the proposal to assemble a group with an African and Caribbean sound in order to appeal to the Costeño Colombian market and also inject a little international exoticism into the label. Fuentes wanted to create their own domestic version of the rare (and often unidentified) African and Antillean records played on the Colombian coast in the outdoor picó sound systems in cities like Barranquilla and Cartagena, as well as opening up their markets to international tastes. Fruko was happy to comply, becoming the bandleader and bassist while his pianist from Los Tesos, Luis "Tomate" Mesa, was recruited to play various electronic keyboards. Venezuelan singer Joe Rodríguez was tapped to play drums, Mariano Sepúlveda of Afrosound played guitar, José "Cholo" Gallardo of Los Diplomáticos played saxophone and several Tesos manned the percussion section. Various Fuentes regulars became the vocalists including Jaime Galé, Luis Carlos, and Joe Arroyo. In keeping with the exoticism and façade of foreignness, the vocalists often sang in made-up languages that approximated Indigenous Colombian, Haitian Creole, Papiamento from the Dutch Caribbean or Nigerian Yoruba; at other times they invented Spanish lyrics that mimicked the original foreign language ones, often in a humorous way. Wganda Kenya, like almost all Fuentes acts, cut plenty of non-album singles and cover versions that ended up on Bailables compilations but it was the runaway success of a 45 with their interpretation of the Haitian song "Homenaje a los embajadores" released in 1975 that motivated the Fuentes studio team to continue with the project and begin releasing complete albums under the band's name. In 1976, Discos Fuentes released the self-titled Wganda Kenya album and it is thought by many to be their first full-length record, in Colombia at least; if you take into account the Miami Records release of Wganda Kenya / Africa 5.000 the year before, it actually isn't the band's debut solo album. All the tunes on this record, including the bonus tracks, are covers, and they include interpretations of songs by Haiti's Original Shleu Shleu ("El Evangelio"), Guadeloupe's Combo Moderno ("An Nous Dansé Tumbelé"), and the Paris-based Le Trio Africain Los Makueson's ("Yoro"), among many others. Like its sibling band Afrosound, Wganda Kenya was ahead of its time, anticipating current contemporary global Afro-Latin-funk in a prescient way that is finding more and more fans across the globe. Contains two non-album bonus tracks from the same period. Includes insert with liner notes; 180 gram vinyl.
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7"
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MR 7346EP
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$15.50
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RELEASE DATE: 3/25/2022
Mainly known for his career as an actor, especially during the post-dictatorship years and through his "soft-erotic" comedy films, the popular Spanish comedian Andrés Pajares also recorded several records since the mid-1960s. Among them, "Dracula Yeyé" is the song that has conquered selected dancefloors worldwide and has been on the wants lists of '60s sounds collectors and DJs for years. A rare artifact that was originally released in 1968 and whose original copies are very scarce and currently fetch exorbitant prices in the second-hand market. The later version recorded by the Spanish band Doctor Explosión in the '90s helped to make this record better known so that has already achieved the status of Spanish garage-yeyé holy grail. The single is completed with another fun and surprising yeyé song on the B-side that could well be the main track of this release since it brings together some of the best artists of the Spanish-sung yeyé scene of the '60s: singers Marta Baizán, Miguel Ríos, and the Venezuelan garage band Los Impala. All of them were the uncredited artists involved in this recording that was originally released as a children's record, with the musicalized narration of the classic tale "Little Red Riding Hood" that these musicians turned into a stunning garage-beat hit. Both songs are reissued here on a 7" single for the first time.
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LP
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VAMPI 228LP
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$27.00
PREORDER
RELEASE DATE: 3/25/2022
Vampisoul present first time vinyl reissue of Travesía's Ni Un Minuto Más de Dolor, originally released in 1983. A new title in the series of full-album reissues that Vampisoul is releasing (co-produced in collaboration with Little Butterfly Records) as a valuable addition to the largely acclaimed compilation América Invertida (VAMPI 205CD/LP), focusing on the obscure leftfield pop and experimental folk scene from '80s Uruguay, making some of these elusive and essential albums available again. In 1981, Estela Magnone, Mariana Ingold, and Mayra Hugo embarked on an unprecedented project at that time for Uruguayan music: a female trio where all the voices, instruments and arrangements were performed by its members. Ni Un Minuto Más de Dolor, the only album recorded by this all-female trio, an essential asset of the effervescent scene of experimental Uruguayan artists who at the time mixed folklore, the avant-garde and pop, was released in 1983. Following a short studio time with Travesía, Uruguayan music star Jaime Roos had convinced the heads of the Ayuí label of the group's quality and potential and offered himself to act as artistic producer of their debut album. The minimalist instrumentation highlighted the trio's complex and ethereal vocal arrangements resulting in a beautiful album recorded under the influence of bossa nova and Tropicália, released almost forty years ago but that could have been made yesterday. Perfect listening for fans of the ethereal pop by artists like Antena or Les Disques Du Crépuscule's sound and lovers of vocal harmonies in the tradition of bands like Free Design. Original artwork with obi; including an insert with liner notes by the Uruguayan music journalist Andrés Torrón.
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LP
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VAMPI 250LP
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$27.00
PREORDER
RELEASE DATE: 3/25/2022
Vampisoul present a reissue of Jorge Ben's Bem-Vinda Amizade, originally released in 1981. Jorge Ben is someone who needs no introduction. Since his first hits in the '60s, this artist has become one of the greatest icons of Brazilian pop music. His anthems "Mais Que Nada" or "Pais Tropical" are probably two of the most ever-listened Brazilian songs of all time. After being involved in the Tropicalia movement and incorporating the influences of Afro-American funk into his repertoire, with the support of his backing band -- Trio Mocotó --, his very personal samba sound also opened up to the new musical trends coming from the States at the edge of the '70s. Boogie and disco music were making headway and soon became popular in the Brazilian market. Jorge Ben's albums recorded at the beginning of the '80s reflect this trend and deliver a good number of outstanding tunes. Bem-Vinda Amizade is one of those albums. Recorded in 1981, it is a solid album, start to finish. It comprises the usual samba funk numbers, so characteristic of Jorge Ben, with killer boogie and disco tracks ("Oé Oé (Faz O Carro De Boi Na Estrada)", "Ela Mora Em..."). And it also contains downtempo soulful slow burners like "Lorraine" or "Katarina, Katarina", funky as hell! An essential addition to any Brazilian music collection.
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LP
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NOAJ 008LP
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$28.00
PREORDER
RELEASE DATE: 3/25/2022
Notes On A Jouney present a reissue of Brunno's 3, originally released in 1992. After years of collaboration n 1991, musician/producer Geo Benjamin and Bruno reconvened. Bruno grabbed a guitar and demonstrated a song entitled "Ó Paí Ó" in the studio and Geo began laughing uncontrollably. The way Bruno imprinted his Bahian essence on the songs he wrote for this album was hilarious and brilliant. For backing vocals, the two were augmented in the studio by Varinia Govea, a Uruguayan singer/actress/model living in Brazil. "Aceite O Dendê"'s title is a pun on "azeite de dendê" (a type of oil that's a common Bahian cooking ingredient). The song is filled with figures of speech created and inserted within the lyrics to evoke the symbolism and social customs of Bahia. "Tribo" is a song within the Bahian samba-reggae aesthetic with lyrics by Bruno, Roger, and the late Reinaldo Leitão. The track features percussion by Eduardo Lyra. One day in Rio in 1986 Bruno came back from the beach and, finding Geo in the apartment, said "I just wrote some lyrics, let's write a song!" Geo got the guitar, Bruno began singing and, after a few back-and-forth suggestions regarding chords and melodic structure, "Depois Da Praia" was ready in under 20 minutes. Absorbed in the art, music and poetry of the great Dorival Caymmi, Bruno went to the studio with the lyrics, melody, arrangement and instrumentation for "Itapoã" already worked out in his head. "Vivo Só" has lyrics that can be interpreted as a bit of intrinsic self-analysis on Bruno's part. Despite all the popularity, glamor and magnetism he appeared to exude in the Rio night life and even in Salvador, there was an obstinate feeling of loneliness behind Bruno's bohemian image. Bruno plays electric guitar. The other players are Geo on acoustic guitar and Bruno "Batera" Wanderley on bossa-flavored drums. Bruno had been a Steely Dan fan since 1983 and they heavily influenced the concept and aesthetic of "Três". For the recording of this track Bruno called on drummer Anderson Guirlinzone to play a regular drum kit. The track also features Sergio "Guita" Diab on guitar. The idea behind "Bossa" was to pay homage to his idols and mentors in Brazilian popular music. It was made to order within the MPB tradition with all its associated melodic, rhythmic and harmonic procedures. The track features Geo on acoustic guitar, the legendary maestro-composer-producer Zé Américo on piano and Banda Eva's Paulinho Andrade on flute. The song "Spleen" is another product of the fruitful partnership between Bruno and Geo Benjamin who confirms that he is indeed its co-writer, handling the music while Bruno wrote the lyrics. 180 gram vinyl; old school Tip On cover; printed inner sleeve.
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CD
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KSCD 087CD
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$13.50
PREORDER
RELEASE DATE: 3/25/2022
Rock Steady Cool is another fine collection of rocksteady hits. The "Cool" subtitle could not be more relevant to an album, as around 1966, an extreme heatwave hit the Jamaican island. This would not stop the all-night dances from going ahead but the jerky ska rhythms proved too strenuous of an activity to partake in, so a new slower beat to suit this extreme weather had to be found and the ever-resourceful music entrepreneurs came up with the slower paced beat and rocksteady was born. This two-year rocksteady period ran until 1968 and would see some of the power escape from the big three producers, Clement "Coxone" Dodd, Prince Buster, and Duke Reid. It was time to make room for a new wave of up-and-coming producers that also had something to offer the people. Such names as Joel Gibson (Joe Gibbs), Sonia Pottinger, Derrick Harriott, and most prolific of them all, Mr Bunny Lee would step forward and add some new musical touches to the island. Rocksteady was an inspirational and somewhat overlooked sound that provided some outstanding music. So, sit back and enjoy some rocksteady straight from the dances of Jamaica. Features The Rudies, Derrick and Patsy, Alton Ellis, The Imperials, Bunny and Bunny, Junior Smith, The Soul Flames, Rico, Fitz & The Coozers, Bobby Kalphat, The Rudies, Derrick Morgan, and Fredrick Bell. CD version includes two bonus tracks featuring Roy Shirley and Glen Adams.
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LP
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EB 164LP
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$24.00
PREORDER
RELEASE DATE: 3/18/2022
FLAPAAaaam!!! the first snare roll leaves no doubt: this is a dub album, reminiscing the pioneers of the genre like King Tubby, Lee "Scratch" Perry and Scientist and of course, it's a tribute to the revolutionary music of Bob Marley and the Wailers. The original record from which these dubs derive -- Bob by Kapelle So & So featuring Cpt. Yossarian -- was recorded in 2020, the year of Bob Marley's 75th birthday. Due to the strict lockdown all the tracks were recorded separately -- which perfectly qualifies them for a dub rework. The musicians involved took great care to dig deeply into the original music, absorbing every note of the Wailers' recordings and translating it to their own instrument. But at this point they leave common paths, because what would be Aston Barrett's electric bass turns out to be a tuba and his brother Carly's distinguished bass drum sound resurges on an old leather suitcase. A traditional Bavarian folk band (trumpet, cornet, tuba, accordion, guitar, drums) playing Bob Marley's sacred music. Simultaneously seriously sticking to the original score and adding color to the music by the masterful use of their rather uncommon instruments. What sounds like an impossible -- almost blasphemous -- endeavor actually sounds pretty neat and leads to the next big venture: a dub album paying tribute to the music of Bob Marley and the Wailers. The dub versions naturally lead on the abstract that was introduced by the uncommon orchestration by muting or emphasizing single instruments and sending them into the sonic orbit. The melody itself is almost completely left out. Nevertheless, one never loses one's orientation since the defining elements of the songs alternate skillfully, vanishing in clouds of reverb, losing themselves in echo feedbacks and then popping up again, guiding us through the song. Despite being focused mainly on bass and drums, Marley's parts instantly come to mind proving the profound impact of this divine music. Bob Marley In Dub is the abstract of an abstract and still manages to transport the heart and soul inherent of the music. With all due respect to the original, Cpt. Yossarian manages to illuminate nuances of the material yet unheard and takes you on a trip through his conception of this otherwise well-known material.
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LP
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ZAMO 2201LP
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$26.00
PREORDER
RELEASE DATE: 3/18/2022
LP version. Lúcia de Carvalho is an alchemist, a seeker of sense, a kindler of essence. Her voice transmits vibrations that heal and transform; her drum transmits the voice of the ancestors, inviting you to reconnect with your deepest self. Born in Luanda, she left the Angolan capital for Portugal with her mother and two of her four sisters, then when she was 12 years old she and her sisters were taken in by a French foster family in Meistratzheim. Her African roots resurfaced in an unexpected way when a Brazilian band happened to play in her village: it was with that band, Som Brasil, that during ten years she took her first musical steps, progressing from backing vocalist to lead singer, moving from dancing to drumming. In 2008, she decided to embark on a solo career and write her own songs. After releasing her first EP in 2011, she met Edouard Heilbronn, a young bassist from Alsace. They worked together on their compositions and played everywhere they could. After a long journey both musical and initiatory that took them to Brazil and Angola, Kuzola ("Love" in the Kimbundu language of Angola) was born: an album (2016) and a moving documentary that retraced Lúcia's quest for her roots and offered some answers to her questions about her own identity. If Kuzola was a quest for meaning, the quest this time is for the essence. It has enabled her, always in partnership with Edouard Heilbronn, to strike out into new territory on this her third album, recorded and mixed by Jean Lamoot (Mano Negra, Noir Désir, Alain Bashung, Dominique A, Souad Massi) at Studio Ferber in Paris. Of course, Africa and Brazil are still there on Pwanga, forming the heart of Lúcia as she lives and writes to the beat of the drum, finding words, melodies and rhythms on the same impulse; a raw diamond that her accomplice polishes, enriching the harmonies and sonic imagery and turning the songs on the album into travel films. Other outstanding participation in this luminous repertoire are the illustrious Brazilian singer Chico César, the powerful and warm voice of singer Anna Tréa, and two veterans of Angolan music: percussionist Galiano Neto and producer-guitarist Betinho Feijo, known for their long-standing work alongside the great Bonga Kwenda. While the virtuoso Zé Luis Nascimento (Mayra Andrade, Ayo, Cesaria Evora) knew how to enhance the essence of each title with his original and varied vocabulary between Brazilian, Eastern, and Western percussions.
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LP
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GB 124LP
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$26.00
PREORDER
RELEASE DATE: 3/11/2022
LP version. Yīn Yīn's dazzling second album dives even deeper into dancefloor propulsion and space travel atmospherics than their lauded debut The Rabbit that Hunts Tigers (2019). The beautiful, old and somewhat staid city of Maastricht, where the band is based, isn't really conducive to setting up a bustling music scene: and it's a place where the outsiders quickly recognize each other. Yīn Yīn are all "nightlife people", which meant their friendship initially came about through co-organizing and deejaying DIY parties. Things started to move for real when Yves Lennertz and Kees Berkers decided to make a cassette tape that drew on references to Southern and South East Asian music. Once the idea was formed, Lennertz and Berkers wasted no time in taking "a lot" of instruments to a rented rehearsal room in a small village near Maastricht. They asked friends to help out, and they became a full band: with Remy Scheren on bass, Robbert Verwijlen on keys and Jerome Cardynaals, and Gino Bombrini on percussion. A "united against the world" stance is also heard at the end of "Declined by Universe". It's a funny, maybe surreptitious statement of belief in what they do. Yīn Yīn also wanted to create an illusion of strength in other ways: "Declined By Universe" sounds as if there is a large group of people playing, not just the core band. Nods to brilliant, invigorating dance music abound, some of the thumping beats in numbers like "Chong Wang" the title track and "Nautilus" drop some thumping 1990s-style electric boogie and Italo disco chops along the way. Then there is "Shēnzou V.", which plots a stately course between eastern-inflected pop music, Italo, and Harmonia-style electronic meditations. The expansive richness in sound and feel may be down to the fact that more samples, drum computers, and synthesizers are used on The Age of Aquarius than in their previous records, a process that intertwines with real-time playing in the studio. "Faiyadansu", for example, started with a sample found on an old traditional Japanese koto record. Cosmic appropriations of time also crop up in the titles, which may give the lie to some of the band members' preoccupations with the state of the world. An old trope musically the Age is most famously referenced in the hippie musical, Hair. Other direct references to cosmic times are in the track names "Kali Yuga" and "Satya Yuga": the Kali Yuga, in Hinduism, is the fourth and worst of the four yugas (world ages) in a Yuga Cycle, preceded by Dvapara Yuga and followed by the next cycle's Krita (Satya) Yuga.
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2CD
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FARO 229CD
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$17.50
PREORDER
RELEASE DATE: 3/11/2022
On a balmy Brazilian night in February, 1981, a crowd gathered in Rio de Janeiro's Gávea neighbourhood under the iconic dome of the city's Planetário (Planetarium). Alongside musicians like Helio Delmiro and Milton Nascimento (who were in the audience that night), they were there to see the great "Bruxo" (sorcerer) Hermeto Pascoal live in concert, with his new band formation which would become known simply as "O Grupo" (The Group). On the Planetário Da Gávea recordings, Hermeto is cast as the "sorcerer" or the "cosmic emissary", exhibiting an intuitive sense of harmony and melody beyond that of our own world. "Tudo e Som" (All is Sound). It's an understanding of the universe as being in a state of constant movement, forever vibrating at the quantum level, like the string of a guitar, or a saxophone's reed. The series of concerts at the Planetário marked the birth of "O Grupo" which would last with the same line-up (apart from Zé Eduardo Nazário) for the next eleven years. Every member of O Grupo was a phenomenal musician in their own right. It was one of saxophonist/flautist Carlos Malta's first gigs with the group, and the concert unusually featured two drummers, Zé Eduardo Nazário and Marcio Bahia. Nazário, from São Paulo, had played with Hermeto during the mid-70s. Acclaimed keyboard player Jovino Santos Neto was on keyboards, piano and organ, and the great Itiberê Zwarg, played bass. Rounding the group off was the percussionist Pernambuco. During this period (up until the early '90s) the group would rehearse for hours on end, virtually seven days a week, with a total dedication to music and Hermeto's musical vision. Most of the compositions performed that night at the Planetário had never been recorded before, and many are unique to this album. The show also features the first recorded performances of "Era Pra Ser e Não Foi" and "Ilza na Feijoada" (inspired by Hermetos' wife Ilza's famed black bean and meat stew), which Hermeto later recorded on his 1984 studio album Lagoa Da Canoa Município De Arapiraca. Dubbed by Miles Davis as "one of the most important musicians on the planet", a Hermeto Pascoal live show was (and still is) an experience like no other. Across the recording of the Planetário concert, wild improvisation meets groovy, virtuosic vamping on progressive, extended psychedelic jams. The tracks are generally built around a beautiful, transcendent melody; instantly recognizable as being Hermeto's, and for the most part, the musicians then solo over extended two chord vamps. There's a plethora of powerfully delivered rhythms, wild solos and the performances are punctuated by Hermeto's unpredictable, at times comical sonic antics.
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CD
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GB 124CD
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$15.50
PREORDER
RELEASE DATE: 3/11/2022
Yīn Yīn's dazzling second album dives even deeper into dancefloor propulsion and space travel atmospherics than their lauded debut The Rabbit that Hunts Tigers (2019). The beautiful, old and somewhat staid city of Maastricht, where the band is based, isn't really conducive to setting up a bustling music scene: and it's a place where the outsiders quickly recognize each other. Yīn Yīn are all "nightlife people", which meant their friendship initially came about through co-organizing and deejaying DIY parties. Things started to move for real when Yves Lennertz and Kees Berkers decided to make a cassette tape that drew on references to Southern and South East Asian music. Once the idea was formed, Lennertz and Berkers wasted no time in taking "a lot" of instruments to a rented rehearsal room in a small village near Maastricht. They asked friends to help out, and they became a full band: with Remy Scheren on bass, Robbert Verwijlen on keys and Jerome Cardynaals, and Gino Bombrini on percussion. A "united against the world" stance is also heard at the end of "Declined by Universe". It's a funny, maybe surreptitious statement of belief in what they do. Yīn Yīn also wanted to create an illusion of strength in other ways: "Declined By Universe" sounds as if there is a large group of people playing, not just the core band. Nods to brilliant, invigorating dance music abound, some of the thumping beats in numbers like "Chong Wang" the title track and "Nautilus" drop some thumping 1990s-style electric boogie and Italo disco chops along the way. Then there is "Shēnzou V.", which plots a stately course between eastern-inflected pop music, Italo, and Harmonia-style electronic meditations. The expansive richness in sound and feel may be down to the fact that more samples, drum computers, and synthesizers are used on The Age of Aquarius than in their previous records, a process that intertwines with real-time playing in the studio. "Faiyadansu", for example, started with a sample found on an old traditional Japanese koto record. Cosmic appropriations of time also crop up in the titles, which may give the lie to some of the band members' preoccupations with the state of the world. An old trope musically the Age is most famously referenced in the hippie musical, Hair. Other direct references to cosmic times are in the track names "Kali Yuga" and "Satya Yuga": the Kali Yuga, in Hinduism, is the fourth and worst of the four yugas (world ages) in a Yuga Cycle, preceded by Dvapara Yuga and followed by the next cycle's Krita (Satya) Yuga.
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2LP
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FARO 229LP
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$33.00
PREORDER
RELEASE DATE: 3/11/2022
Double LP version. On a balmy Brazilian night in February, 1981, a crowd gathered in Rio de Janeiro's Gávea neighbourhood under the iconic dome of the city's Planetário (Planetarium). Alongside musicians like Helio Delmiro and Milton Nascimento (who were in the audience that night), they were there to see the great "Bruxo" (sorcerer) Hermeto Pascoal live in concert, with his new band formation which would become known simply as "O Grupo" (The Group). On the Planetário Da Gávea recordings, Hermeto is cast as the "sorcerer" or the "cosmic emissary", exhibiting an intuitive sense of harmony and melody beyond that of our own world. "Tudo e Som" (All is Sound). It's an understanding of the universe as being in a state of constant movement, forever vibrating at the quantum level, like the string of a guitar, or a saxophone's reed. The series of concerts at the Planetário marked the birth of "O Grupo" which would last with the same line-up (apart from Zé Eduardo Nazário) for the next eleven years. Every member of O Grupo was a phenomenal musician in their own right. It was one of saxophonist/flautist Carlos Malta's first gigs with the group, and the concert unusually featured two drummers, Zé Eduardo Nazário and Marcio Bahia. Nazário, from São Paulo, had played with Hermeto during the mid-70s. Acclaimed keyboard player Jovino Santos Neto was on keyboards, piano and organ, and the great Itiberê Zwarg, played bass. Rounding the group off was the percussionist Pernambuco. During this period (up until the early '90s) the group would rehearse for hours on end, virtually seven days a week, with a total dedication to music and Hermeto's musical vision. Most of the compositions performed that night at the Planetário had never been recorded before, and many are unique to this album. The show also features the first recorded performances of "Era Pra Ser e Não Foi" and "Ilza na Feijoada" (inspired by Hermetos' wife Ilza's famed black bean and meat stew), which Hermeto later recorded on his 1984 studio album Lagoa Da Canoa Município De Arapiraca. Dubbed by Miles Davis as "one of the most important musicians on the planet", a Hermeto Pascoal live show was (and still is) an experience like no other. Across the recording of the Planetário concert, wild improvisation meets groovy, virtuosic vamping on progressive, extended psychedelic jams. The tracks are generally built around a beautiful, transcendent melody; instantly recognizable as being Hermeto's, and for the most part, the musicians then solo over extended two chord vamps. There's a plethora of powerfully delivered rhythms, wild solos and the performances are punctuated by Hermeto's unpredictable, at times comical sonic antics.
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LP
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RR 359LP
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$27.00
PREORDER
RELEASE DATE: 2/25/2022
Radiation Roots present a reissue of Michael Palmer Meets Johnny Osbourne's Wicked, originally released in 1985. Radiation Roots continues its exploration of Jah Thomas' Midnight Rock label with the releases of this sought after and rare early dancehall album. Recorded at the legendary Channel One Studio, Osbourne and Palmer are two sublime vocalists and they are backed here by The Roots Radics, with Scientist on the mix.
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CD
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GB 119CD
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$15.50
PREORDER
RELEASE DATE: 2/25/2022
The luminous third album from the acclaimed Korean multi-instrumentalist and composer Park Jiha. The beauty of light is the inspiration for The Gleam. Park Jiha distills light into sound, from the first flicker of morning on the horizon in "At Dawn" all the way to the moment when full darkness falls again in "Nightfall Dancer", capturing the essence of it in notes and silence. The album had its origin with the piece "Temporary Inertia", which was created for a performance as "a meditative improvisation in a bunker designed by the architect Ando Tadao, where the ceiling had an open light way going across the room..." Like its predecessor, Philos (GB 077CD/LP), The Gleam is a completely solo work, all the music composed and played by Park Jiha on the piri, a type of oboe, the saenghwang, a mouth organ, the hammered dulcimer known as the yanggeum, and glockenspiel. There's a stark clarity to the sound, yet it's never spare or empty. There's a searching warmth to what she does. It's minimal without being minimalist, occasionally presenting itself with the formality of traditional Korean music that is her background, although she feels that the distance she's put between herself and that teaching is "really what made my music what it is now". At other times her playing is an improvisation that spirals free into the sky. It all comes together into a beautiful whole and it always flows with a natural rhythm. Like everything, it breathes. The music on The Gleam often surprises, as instruments take on different colors and shades. Nowhere is that more evident than on "Sunrise: A Song of Two Humans", a composition created as a live soundtrack for a movie of the same name, a silent black-and-white film. The effect of dividing the piri melody into two parts shimmers, and is both intimate and quietly flickering, like light itself. Across The Gleam, the music patiently shifts moods, from the soft serenity of "At Dawn" to the playful, sparkling dance that marks "A Day In..." as the rhythm carries it along. Nothing is rushed. Much of that sense is due to the way she composes. Working with textures and layers in a piece until it breathes, until it's ready. There was another, inevitable factor involved in the creation process of The Gleam: Covid-19. The global pandemic meant that the performance of "Temporary Inertia" was pushed back until Oct. 2020. The music had already been gestating for a while, with some pieces written a couple of years earlier, but the long break offered her more chance to slowly shape the album.
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4x7" BOX
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VAMPI 45080EP
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$58.00
PREORDER
RELEASE DATE: 2/25/2022
The music of Grupo La Droga is an unabashedly oddball concoction, a potent witches' brew featuring leftfield South American flavored tropical instrumentals with funky cumbia beats, slinky and distorted acid-funk guitars drenched in wah-wah, crazy synth bass lines and bizarre squelchy Moog riffs. The tunes are played in a deliciously sinister minor register that lends a dark, mournful, spooky vibe to the melodies. The music is cinematic as well, leading the listener on a journey from the depths of the Amazon jungle to the heights of the Andean mountains. On first listen, you may be reminded of the 1970s Colombian band Afrosound, but there is a more simple, raw quality to their records that makes the music feel somehow twice as primitive and elemental. Yet at the same time the grooves and instrumentation are refreshingly modern and underground. The initial experience of listening to the band's first single, "El Maromero" ("The Acrobat") and "La Chicharra" ("The Cicada") is like taking some sort of jungle medicine with a shaman and getting up from the campfire to dance your way across the universe and back. All it takes is one listen and you're hooked... This release comprises four replica 45s of the obscure, amazing '70s studio band Grupo La Droga, Codiscos' answer to Discos Fuentes' Afrosound, which in turn was inspired by the exotic, psychedelic cumbias coming from Peru at the time. First time reissue.
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CD
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VPGS 2731CD
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$19.00
PREORDER
RELEASE DATE: 2/25/2022
King Jammy returns to the mixing board to put the virus under manners with a new set of classic dubs 21st century style! Jammy revisits a serious selection of missiles from the golden age giving the likes of Hugh Mundell, Junior Delgado, Sugar Minott, Frankie Paul etc. the King Jammy superpower dub treatment. With a specially commissioned illustrated sleeve by original Greensleeves album illustrator Tony McDermott."
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CD
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ZAMO 2201CD
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$16.00
PREORDER
RELEASE DATE: 2/25/2022
Lúcia de Carvalho is an alchemist, a seeker of sense, a kindler of essence. Her voice transmits vibrations that heal and transform; her drum transmits the voice of the ancestors, inviting you to reconnect with your deepest self. Born in Luanda, she left the Angolan capital for Portugal with her mother and two of her four sisters, then when she was 12 years old she and her sisters were taken in by a French foster family in Meistratzheim. Her African roots resurfaced in an unexpected way when a Brazilian band happened to play in her village: it was with that band, Som Brasil, that during ten years she took her first musical steps, progressing from backing vocalist to lead singer, moving from dancing to drumming. In 2008, she decided to embark on a solo career and write her own songs. After releasing her first EP in 2011, she met Edouard Heilbronn, a young bassist from Alsace. They worked together on their compositions and played everywhere they could. After a long journey both musical and initiatory that took them to Brazil and Angola, Kuzola ("Love" in the Kimbundu language of Angola) was born: an album (2016) and a moving documentary that retraced Lúcia's quest for her roots and offered some answers to her questions about her own identity. If Kuzola was a quest for meaning, the quest this time is for the essence. It has enabled her, always in partnership with Edouard Heilbronn, to strike out into new territory on this her third album, recorded and mixed by Jean Lamoot (Mano Negra, Noir Désir, Alain Bashung, Dominique A, Souad Massi) at Studio Ferber in Paris. Of course, Africa and Brazil are still there on Pwanga, forming the heart of Lúcia as she lives and writes to the beat of the drum, finding words, melodies and rhythms on the same impulse; a raw diamond that her accomplice polishes, enriching the harmonies and sonic imagery and turning the songs on the album into travel films. Other outstanding participation in this luminous repertoire are the illustrious Brazilian singer Chico César, the powerful and warm voice of singer Anna Tréa, and two veterans of Angolan music: percussionist Galiano Neto and producer-guitarist Betinho Feijo, known for their long-standing work alongside the great Bonga Kwenda. While the virtuoso Zé Luis Nascimento (Mayra Andrade, Ayo, Cesaria Evora) knew how to enhance the essence of each title with his original and varied vocabulary between Brazilian, Eastern, and Western percussions.
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7"
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VAMPI 45084EP
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$14.50
PREORDER
RELEASE DATE: 2/25/2022
Following the great success of "Estrelar", Marcos Valle released another boogie single, comprising two non-album tracks, in 1984. He settled in Los Angeles in the mid-70s, tired of living under Brazil's military dictatorship, and started to collaborate with such talented artists as Leon Ware or Chicago. "Bicicleta" shows all the music influences received during his US years, especially boogie, soul and funk, featuring stellar collaborator: Lincoln Olivetti. "Bicicleta" is reissued for the first time, in replica original artwork and remastered sound.
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LP
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VPGSRL 2731LP
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$27.00
PREORDER
RELEASE DATE: 2/25/2022
LP version. King Jammy returns to the mixing board to put the virus under manners with a new set of classic dubs 21st century style! Jammy revisits a serious selection of missiles from the golden age giving the likes of Hugh Mundell, Junior Delgado, Sugar Minott, Frankie Paul etc. the King Jammy superpower dub treatment. With a specially commissioned illustrated sleeve by original Greensleeves album illustrator Tony McDermott."
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LP
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RR 352LP
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$27.00
PREORDER
RELEASE DATE: 2/25/2022
Radiation Roots present a reissue of Delroy Wilson's True Believer In Love, originally released in 1978 on Carib Gems. Arranged and produced by Bunny Lee. Delroy Wilson was one of Jamaica's most soulful vocalists, and over a 40-year career the singer unleashed a flood of hits and a multitude of masterpieces. Born in the Kingston neighborhood of Trenchtown, Wilson's phenomenal talent would be his ticket out of the ghetto, and his discovery by producer Coxsone Dodd in 1962 would change the path of Jamaican music.
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LP
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BJR 065LP
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$26.00
PREORDER
RELEASE DATE: 2/25/2022
Grup Şimşek is a fresh and modern pop group which combines Anatolian folk and contemporary grooves, often contaminated by psychedelia and progressive rock flavors. Led by Derya Yıldırım's hypnotizing bağlama and vocals, the group draw a meaningful continuity from the Turkish folk repertoire to their original songwriting, with a strong sound identity and a dancefloor-friendly energy. Derya Yıldırım & Grup Şimşek, along with Swiss label Bongo Joe, release the new LP Dost 1, the collective's second album and first of two to be released in 2022. Turkish singer and saz player Derya Yıldırım has been burning the candle for Turkish folk and psychedelia since her infamous performance at the New Hamburg Festival back in 2015. Soon after, Grup Şimşek was born and there started a rich journey of musical feast, exploring and rendering new versions of Anatolian classics as well as building a songbook of original compositions, with references to the music of The Doors, west coast US psych, Turkish musical activist and hero Selda Bagçan and many heroes of musical Anatolia. Grup Şimşek are itinerant by nature. They live apart across various European homes and span Turkish, German, French, and English heritage with Derya living in Berlin. Despite this spatial incongruence, the group's harmony oozes through their music with a rich stew of funk-noir groove, organ energy, hypnotic saz (Turkish stringed instrument) and synths all layered beneath Derya's warm sometimes heartfelt vocal, singing verse and poetry, borrowed, evolved and new.
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LP
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FOV 2102LP
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$27.00
PREORDER
RELEASE DATE: 2/25/2022
Accompanied by Niño Josele (guitar) and a large group of percussionists, Entre Vareta y Canasta, the second album by Diego El Cigala, made him known among many people outside the traditional nucleus of flamenco for his simplicity, purity and mastery. The unique voice of this artist moves with naturalness and feeling in styles as different as martinete, bulería or fandangos. Diego El Cigala is, with any doubt, one of the greatest flamenco geniuses of our times. Not only because of his voice and charisma, but also for recording such vast and wide discography singing with majesty and no complex any style he could be challenged to perform. Entre Vareta y Canasta (18 Chulos) was originally published in the year 2000 and, as many of his works, this album has proved the test of time and it has become a true classic. This will be the first time this album comes out on 12"; edition of 500.
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LP
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KALITA 007LP
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$24.00
PREORDER
RELEASE DATE: 2/25/2022
Kalita unveil the first ever album reissue of one of -- if not the -- strongest South African kwaito/bubblegum albums in existence, Jivaro's 1989 masterpiece Saturday Fever. Originally released on Maurice Horwitz's Music Team label at the turn of the decade, the album features various heavy hitting tracks that perfectly encapsulate the post-boogie/proto-house movement that had taken over the country's airwaves and clubs at the time. Sourced from the original analog master tapes, this definitive release by Kalita is a truly essential piece of musical history and one sure to set any discerning dancefloor on fire. Features the tracks "What Next", "Saturday Fever", "What Next (Dub Mix)", and "Your Way Is My Way".
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LP
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GB 119LP
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$24.00
PREORDER
RELEASE DATE: 2/25/2022
LP version. The luminous third album from the acclaimed Korean multi-instrumentalist and composer Park Jiha. The beauty of light is the inspiration for The Gleam. Park Jiha distills light into sound, from the first flicker of morning on the horizon in "At Dawn" all the way to the moment when full darkness falls again in "Nightfall Dancer", capturing the essence of it in notes and silence. The album had its origin with the piece "Temporary Inertia", which was created for a performance as "a meditative improvisation in a bunker designed by the architect Ando Tadao, where the ceiling had an open light way going across the room..." Like its predecessor, Philos (GB 077CD/LP), The Gleam is a completely solo work, all the music composed and played by Park Jiha on the piri, a type of oboe, the saenghwang, a mouth organ, the hammered dulcimer known as the yanggeum, and glockenspiel. There's a stark clarity to the sound, yet it's never spare or empty. There's a searching warmth to what she does. It's minimal without being minimalist, occasionally presenting itself with the formality of traditional Korean music that is her background, although she feels that the distance she's put between herself and that teaching is "really what made my music what it is now". At other times her playing is an improvisation that spirals free into the sky. It all comes together into a beautiful whole and it always flows with a natural rhythm. Like everything, it breathes. The music on The Gleam often surprises, as instruments take on different colors and shades. Nowhere is that more evident than on "Sunrise: A Song of Two Humans", a composition created as a live soundtrack for a movie of the same name, a silent black-and-white film. The effect of dividing the piri melody into two parts shimmers, and is both intimate and quietly flickering, like light itself. Across The Gleam, the music patiently shifts moods, from the soft serenity of "At Dawn" to the playful, sparkling dance that marks "A Day In..." as the rhythm carries it along. Nothing is rushed. Much of that sense is due to the way she composes. Working with textures and layers in a piece until it breathes, until it's ready. There was another, inevitable factor involved in the creation process of The Gleam: Covid-19. The global pandemic meant that the performance of "Temporary Inertia" was pushed back until Oct. 2020. The music had already been gestating for a while, with some pieces written a couple of years earlier, but the long break offered her more chance to slowly shape the album.
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