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"it's Been One Of The 1st Nigerian Lps To Land In Our Collection Some Years Ago, Sort Of Late 80's Nigerian (edo) Highlife Oddity. Pretty Obscure.. Full With Quirky Synths And Groovy Drum Programming, The Track "enothiomwan" Is The Highlight With Its Catchy Horns, Funky Synth Hits, Slap-bass And Crazily Deep Vocals, Surely One Of Our All Time Favourite And Most Selected During Our Parties.
After Weeks And Weeks Of Deep Research In Nigeria During Summer 2018 We Finally Found And Met, In Benin City, Mr. Odomore Who Introduced Us To All The Members Of The Band And To The Producer Of The Lp. We Discovered That yetigbe - The Birth Of A Child Is His 1st Lp Made Back In 1988 And That, At The Time, Was Pressed In A Very Limited Edition And Is Still Nowdays Highly Unkown And Hard To Find!"

Last year saw The Last Poets celebrate their 50-year anniversary with the righteous, politically-charged poetic record, "Understand What Black Is". Now to continue the party, Brighton production-maestro Prince Fatty has reworked the album with a fresh twist and blend of smooth, dub-delights. Set to land on the 29th March, the revolution marches on - this is "Understand What Dub Is".

After Prince Fatty's involvement in the production of the original project, he was the perfect person to help update the record with five decades of experience for a new audience to enjoy. The ten tracks of "Understand What Black Is" depict a relevant, historical philosophy of identity and race that has followed The Poets over the last 50 years. Since the origins of the civil rights movements back in the late 60's, Abiodun Oyewole and Umar Bin Hassan (two of the longest-standing group members) have provided social commentaries and a voice to African-American consciousness that has now been heard on a global scale.

Their raps, exploitations and insights quickly evolved into the origins of hip-hop in Harlem, New York back in 1968, and now in 2019 they continue to voice their dedication to the cause with the backing of slick rock-steady infused beats to keep things moving. Having had their work sampled by the likes of NWA, Dr Dre, Kanye West, Snoop Dogg and countless others is just a testament to the timeless sounds and prophecy they have created, and now Prince Fatty has stepped up to put his stamp on it.

Prince Fatty's ever-reliable work gives "Understand What Black Is" another lease of life as he maintains an undeniably slick groove throughout. Both therapeutic and warm, the soulful rhythms of "Understand What Dub Is" provide the perfect platform for The Last Poets to delve into everything from Trump's inauguration, nods to Biggie Smalls and respect to Prince. The calm, collective and downright thought-provoking words go hand-in-hand with the roots-driven reggae medleys with ease - this is dub in its rawest form.

Not only do these songs explore personal struggles and individual endeavours, they also represent a collective of deprived aspects of humanity and socialism, that perhaps now need to be pointed out more than ever. Although there is a variation of sound, the overlying topics remain a constant - it is time to "Understand What Black Is" once more.

This is part three and the last of the collaboration series between Ethopia's legendary soul singer Alemayehu Eshete and the Philophon house band The Polyversal Souls.

On the A-side you hear Alemayehu's classic song Addis Abeba Bete in an intimate live performance. This recording happend during a cultural exchange programm organized by Galerie Listros, Berlin's finest gallery for Ethopian art, with support from the Bundeskulturstiftung der Bundesrepublik Deutschland.

The flip side is the complimentary portrait to the recently released Portrait of Alemayehu (Daytime) - now, on Portrait of Alemayehu (Night-time), you get an idea of the masters fiery stage persona as it is documentated on the A-side. It's night-time now - booooooom!

A wide selection of rare Turkish funk, jazz, beat and psychedelic music from the 1960s and 1970s.

This is the third issue of the groundbreaking Bosporus Bridges compilation series started in 2005 (Vol. 1) and continued in 2011 (Vol. 2).

Why did it take so long for the release of Vol. 3 Because deep digging, deep selecting and our wish to serve you Turkish pop music of the highest order takes its time. And it is worth doing so. According to the aspiration of the Bosporus Bridges series you will get extraordinary music, opening your mind and remapping your knowledge of Turkish music.

As Turkish pop music is a hybrid of Western and Eastern elements, it's not just funk, jazz, beat and psychedelic music but each time a specific Turkish approach to a hybrid pop music. This incorporates Turkish language, instruments, melodies etc., all mixed with electric instruments, drums and sound effects of Western pop music.

Enjoy deep Turkish funk by Seyyal Taner, Süheyl Denizci, Cengiz Coskuner and Erkut Taçkin, Turkish jazz by the Burhan Tonguç Ritm Grubu and Figen Han, Turkish beat by Lili Ivanova, Ajda Pekkan and Fatos Balkir, Turkish psychedelic by Semra Sine, Serter Bagcan and Harout Pamboukjian, and Turkish-Asian rock by Dönüsüm & Halit Kakinç.

Quality LP vinyl pressing with restored and remastered audio material of the original records. Comes in a wonderful, authentic and special seventies English-styled old-fashioned cover.

Continuing the series of 12" dancefloor singles, Soundway Records presents "Hinde" by African Vibration (BIG TUNE!) with a rework on the flip by Julian Dyne. Hinde is re-mastered from the original master tapes for this 12''. Check!

Classic Brazilian album from master drummer, Ronald Mesquita, originally released in 1972. Featuring songs by Jorge Ben, Antonio Carlos-Jobim, Gilberto Gil, Edu Lobo and others.
Mesquita is probably most well-known for playing with Luis Carlos Vinhas and his 'Bossa Tres' outfit, along with his own group, 'Ronie E A Central Do Brasil', that he formed after his return from the US in the early 1970s. He also played on several songs on Tenorio Jr.'s 'Embalo' album that Mr Bongo recently reissued.
The killer track 'Balanca Pema' was very big in the Jazz Dance scene in the 90s and also featured on the Mojo compilation 'Dancefloor Jazz Volume Four'.
Madlib sampled 'Balanca Pema' on his Medicine Show Number 2 'Flight to Brazil'.

Official Mr Bongo reissue. Licensed courtesy of Universal Music Group Limited.

Ambient/Traditional Flute Music from Japanese Shakuhachi Master Teruhisa Fukuda

The shakuhachi is an end-blown bamboo flute with one dorsal and four frontal holes and a bevelled notch as mouthpiece. There are two elements in the name of the instrument: shaku refers to an ancient measurement which is the equivalent of 30,3 cm; hachi means eight. Originally shakuhachi thus refers to a flute that measures 1,8 shaku, that is, 54,5 cm.

For this CD, 2LP Master Fukuda chose a series of seven pieces from a repertoire dating back to the seventeenth century. These were originally performed by monks belonging to the Fuke sect of zenBuddhism, who viewed their instrument as means for meditation. The seven pieces are destined to be played solo, in the spirit of zen.

Teruhisa Fukuda
Born in 1949, Teruhisa Fukuda is an eminent artist who has explored a vast range of musical techniques from, both, traditional and contemporary music.

Compilation (LP + DL) Un-earthed latin and jazz-tinged tracks will let your mind drift off to the glamorous nightlife of 60's Cairo. Meet some forgotten souls of the Egyptian music scene and cinema world.Sensual voices and Bolly-wood-like orchestra sounds inflame the senses of the body with an in-tangible exotic twist! All music is remastered from original 45's pro-duced by Sono Cairo

For their first Afro-Brazilian compilation the German Jazz & Milk label teamed up with Tahira, one of São Paulo's most active DJs andmusiccollectors. Levanta Poeira (Afro-Brazilian music & rhythms from 1976 - 2016) highlights a few of his favourite DJ pearls and encompasses Brazil's various regional musical styles influenced by African and Amerindian forms. While most foreign music lovers tend to approach Brazilian music by having American music genres such as Jazz, Soul, Funk, Disco as a reference, Tahira's personal wish was to showcase the rich musical roots and facets of his country by featuring carefully selected artists and bands from the past 4 decades. Most of these tracks will be made available on vinyl for the very first time with a highlight certainly being Tahira's "A Toda Menina Baiana" remix (vinyl-only) of one of Brazil's absolute musical heroes, Gilberto Gil.

Tahira is a well known character and good soul of São Paulo's music and digging community, regularly searching through record shops, private collections or dusty attics around the country. The passionate DJ dedicated the past four years extensively researching Brazil's broader spectrum of musical styles and slowly started to introduce more and more African and indigenous elements in his DJ sets. Encouraged by the great acceptance and success during his shows he decided to curate his first compilation project to share his discoveries with the world. "Levanta Poeira" is a popular Brazilian expression meaning "kick up dust." This is a phenomenon that can be found throughout the country, a cultural manifestation that exists where people gather to play, dance and party. Earth is hit by the foot of the dancers raising a cloud of dust. It is a sign that the heat of the Brazilian spirit is present!

The compilation starts of with a key figure of Brazil's music scene. Since the 1950s, the Genius Gilberto Gil has been gifting us with countless musical blessings. Very few artists were able to not only explore but embody the diversity of Brazilian music as well as he did. Gil's endless row of classics include the wonderful track "Toda Menina Baiana" which has been revisited by Tahira himself. Adding Ijexá beats, as well as Afrobeat stlye guitars and a horn section on top of the original, Tahira managed to make this legendary song attractive to a young and modern audience. The remix starts of with a long percussion intro, builds up very slowly before finally introducing the first vocal verse - an arrangement especially designed for DJs who love to mix and blend brazilian rhythms in their sets. This remix will be available on vinyl only!

Established in 1995, Barbatuques from São Paulo developed different techniques of body percussion, vocal percussion, tap dance and musical improvisation in their collective experiences. "Baiao Destemperado" is a Forró (a genre of Brazilian music that originated in Northeast) with the famous Barbatuques body percussion trademark. A truly unique and outstanding piece of music!

Back in 1976 Georgette or Georgete da Mocidade recorded "Kiriê" -a track produced by the genius Ed Lincoln, a pioneer of sambalanço, a very groovy music style which mingles samba rhythms and American jazz. The Afro influences on this track are unmistakable. The simple foundation of guitars and percussion create a very warm and electrifying sound layered by Georgette's beautiful vocals. The rhythmic pattern of the percussion intro is called"Congo de Outro", an Afro Brazilian rhythm with Bantu origins that heavily inspired modern producers and laid the foundation for Baile Funk.

Renata Rosa is a contemporany artist that blends sounds of the northeast area of Brazil in a very unique way. On "Brilhantina" her indigenous influenced voice fits wisely to the Samba de Coco rhythms. Its´s an outstanding track from the beginning to the end and a good example of how powerful and bass-heavy percussion-driven music from Brazil can sound these days. Renata Rosa manages to present Brazil's musical roots in a modern guise, celebrating widely unkown facets of Brazilian music culture.

Global bass producer Maga Bo continuously explores the contours of Afro-Brazilian culture including many collaborations with some of the biggest talents in Brazil's vast musical landscape. His track "No Balanço da Canoa" was remixed by another production pioneer Chico Correa who was one of the first to blend Brazilian sounds of the norheast with electronic beats back in 2003. On his remix he modernized the traditional style of the original version by adding flutes, synth basslines and strong electronic Coco stlye beats.

Coco Raízes de Arcoverde are influenced by elements of indigenous and Afro culture. The band was formed in 1992 by Lula Calixto and the Irmãs Lopes. After a while the Irmãs Lopes split up to form their own band but Lula Calixto kept playing with Coco Raízes and made his whole family become part of the group too. They play a kind of Coco style ryhthm called Trupé, in which they use wooden sandals as a percussion instrument, strongly reminding one of clap sounds, which can also be heard in the intro of "Gode Pavão" - a very powerful song impossible not to dance along to!

Around for more than 90 years, Banda de Pífanos de Caruaru are one of the oldest bands in South America. They started in 1924 with Manoel Clarindo Biano and Benedito Clarindo Biano in Alagoas, but recorded their first album not until 1972 after Gilberto Gil recorded Banda de Pifanos' track "Pipoca Moderna" as part of his album "Expresso 2222". Unfortunately the originators Manoel and Benedito Biano have passed away but the band continues the tradition with their sons and nephews. The musicians play several self made instruments like drums and "pífanos" (fife flutes). "Balao Azul" is a very happy song for the dancefloor!

The first thing that strikes you when hearing 'Nosso' is its feeling of intimacy and warmth. The title, which means 'Ours' in Portuguese, is apt since he sees the record as the result of letting a wild variety of people into his world. João notes that 'I didn't know most of the collaborators before meeting up with them in a studio somewhere in the world, so most of these songs are coming from a very immediate and honest sense of collaboration where you spend an afternoon with someone learning about each other at the same time as you're making music. It's a shared experience, a moment where two or more people came up with ideas together, that they probably wouldn't have had if they were in their comfort zone.' These meetings were turned into songs at home in Lisbon once the main ideas were created collaboratively elsewhere. 'On this album, like in everything else I did so far, the focus on the instrumental side of things was experimenting with rhythmic patterns and genres from the Portuguese-speaking universe while applying them to songs created with other artists from completely different backgrounds and places.' There's something in this process that has left the album sounding super fresh as this is a sound without borders that pulls you in. It's music everyone can be a part of, where even the most rugged up-tempo cut sounds welcoming. It's an overwhelmingly positive and joyous experience to immerse yourself in 'Nosso.' It's no wonder that the central motif of the album artwork shows a less common view of Lisbon, one where instead of looking at the historic city centre we face the suburbs, where these musical and cultural experiments have been and still are occurring, undeniably shaping the musical and cultural landscape of Lisbon in the process. As much a soul record as it is a record infused with the beats of the Portuguese-speaking world, 'Nosso' is a reflection of Branko's ongoing musical explorations and his vision of Lisbon as a privileged cultural hub for the Portuguese-speaking world and beyond. Branko fuses local rhythms from kizomba to baile funk and afrohouse through European electronic genres with a clear accessible pop sensibility and the aim of creating a unified sound that puts all these individual musical expressions in perspective as part of a greater whole. For João, this is the logical next step in his musical evolution.

Very Limited Clear Vinyl Version

Having sold his instruments to fund a nomadic 1970s lifestyle, eccentric Irish experimentalist Michael O’Shea was forced to create his own handmade answer to the sitars and zelochords he’d become accustomed to playing on his travels around the globe.

Using an old door, 17 strings, chopsticks and combining them with phasers, echo units and amplification, the new device was to become his signature sound, mixing Irish folk influences with Asian and North African sounds in a mesmerising and soulful new way that brought him to the attention of the leading improvisers of his day - Alice Coltrane, Ravi Shankar, Don Cherry and more.

A logical follow up to AllChival’s recent reissue of Stano's debut LP, Michael O’Shea’s self titled LP was originally released on Wire's Dome Imprint in 1982.

The background to the album is as interesting and inspiring as the artist who created it - born in Northern Ireland but raised in the Republic, O’Shea was keen to travel and escape the troubles of his home.

Wandering throughout Europe and the Middle East, O’Shea found himself living and working as a relief aid in Bangladesh in the mid Seventies where he learned to play sitar while recovering from a bout of hepatitis. A later period spent busking in France accompanied on zelochord by Algerian musician Kris Hosylan Harp led to O’Shea’s idea of combining both instruments as a homebuilt instrument - Mo Chara Irish for "My Friend".

He later described the process on the back of the LP himself saying:

"Having sold my sitar in Germany and being desperate for money to travel to Turkey, I conceived of the idea of combining both sitar and zelochord. The first Mo Cara was born, taken from the middle of a door, which was rescued from a skip in Munchen"

A combination of dulcimer, zelochord and sitar, O Shea would play it with a pair of chopsticks, striking the strings softly using Irish folk rhythms mixed with the rich, nostalgic sounds of of the many Asian artists he’d encountered on his travels.

It was a pan cultural sound standing at an unusual crossroads of folk, traditional, rock, progressive, jazz, electronic and post-punk worlds without hesitation.

Perfecting the instrument on the streets, there were further spells spent busking in the underground stations and cafes of London's West End and Covent Garden during the heady days of the 1970s when they were full of eccentric street entertainers, jazz improvisers and musical pioneers.

His work with Rick Wakeman never saw the light of day but O’Shea’s contact with the world of post-punk London ensured his name would live on.

Introduced to Wire's Bruce Gilbert and Graham Lewis via cartoonist Tom Johnston, O’Shea eventually acquiesced to an open invite to record at their studio. Turning up unannounced in the summer of 1981 the LP was recorded in a day in the legendary Blackwing Studios and released on Dome the year after.

The first side features the fifteen minute masterpiece "No Journeys End" with the B side featuring more input from Wire in processing the Mo Chara sound.

Lewis himself said years later of the forgotten masterpiece: “I always said it was the best job we ever did.”

After an aborted LP with The The's Matt Johnson the following year, O’Shea quietly disappeared from the formal recording world and his brief but unique contribution to the music world came to a sad end in 1991 when O’Shea was struck by a post van and died a few days later in hospital in London.

This repress on All City’s AllChival imprint has been remastered and reissued with the approval of both Dome and his surviving siblings.

This compilation originally appeared in 1982 under the title of 'Éxitos, éxitos, éxitos'. It gathered some of the first recordings by Chacalón y La Nueva Crema that were released on 7-inch records between 1977 and 1981.
These twelve themes were written during the years of the de facto government of Francisco Morales Bermúdez. This dictatorship led Peru to an institutional and economic crisis that also affected major record labels, which opted to publish foreign musicians to insure sales.

Although Chacalon's career experienced highs and lows after the release of this album, his intimate relationship with his audience remained, carried to levels as extreme as the ones he told Caretas magazine in July 1983:

"Once we were playing at a venue on Mexico Avenue, I was singing a song called 'Llanto de un niño', about a boy who was born in poverty, he has to leave his small town with his family. On the coast his father becomes a fisherman and dies, the son wants to send a letter to heaven. While I was singing, a guy who was there, at the front, pulled a switchblade and cut open his veins. He saved himself and then told me later that he had suffered a lot like the child in the song. Yes, the man had been drinking.'

This compilation originally appeared in 1982 under the title of 'Éxitos, éxitos, éxitos'. It gathered some of the first recordings by Chacalón y La Nueva Crema that were released on 7-inch records between 1977 and 1981.
These twelve themes were written during the years of the de facto government of Francisco Morales Bermúdez. This dictatorship led Peru to an institutional and economic crisis that also affected major record labels, which opted to publish foreign musicians to insure sales.

Although Chacalon's career experienced highs and lows after the release of this album, his intimate relationship with his audience remained, carried to levels as extreme as the ones he told Caretas magazine in July 1983:

"Once we were playing at a venue on Mexico Avenue, I was singing a song called 'Llanto de un niño', about a boy who was born in poverty, he has to leave his small town with his family. On the coast his father becomes a fisherman and dies, the son wants to send a letter to heaven. While I was singing, a guy who was there, at the front, pulled a switchblade and cut open his veins. He saved himself and then told me later that he had suffered a lot like the child in the song. Yes, the man had been drinking.'

Minyo Crusaders rework historic Japanese folk songs (min'yo) with Latin, African, Caribbean and Asian rhythms for their debut album 'Echoes of Japan'.

Releases from Ryuichi Sakamoto, Haruomi Hosono and Midori Takada have re-ignited global interest in Japanese music and 'Echoes of Japan' marks the arrival of a big band like no other.

'For Japanese people, min'yo is both the closest, and most distant, folk music' explains band-leader Katsumi Tanaka: 'We may not feel it in our daily, urban lives, yet the melodies, the style of singing and the rhythm of the taiko drums are engrained in our DNA'. Initially indifferent to min'yo, a tragic event in recent Japanese history set Tanaka on his current path: 'Following the Tohoku earthquake of 2011, I reflected on my life, work and identity. A fan of world music, I began searching for Japanese roots music I could identify
with. Discovering mid-late 20th century acts Hibari Misora, Chiemi Eri and the Tokyo Cuban Boys, I was
captivated by their eccentric arrangements and how they mixed min'yo with Latin and jazz.'

Originally sung by fishermen (Kushimoto Bushi; Mamurogawa Ondo), coal miners (Tanko Bushi) and sumo wrestlers (Sumo Jinku), these songs deal with topics such as the returning spirits of ancestors (Hohai Bushi), Japan's smallest bird (Toichin Bushi) and a bride's love for her husband's pockmarked face (Otemoyan).

Minyo Crusaders are one of the most hyped acts on the Tokyo music scene that went national in 2018 through festivals such as Fuji Rock. The band features veterans of the Tokyo roots music scene such as bassist DADDY U (Ska Flames), keyboardist Moe (Kidlat), sax player Koichiro Osawa (Matt Sounds/ J.J. Session), Yamauchi Stephan (J.J. Session), percussionist Mutsumi Kobayashi (Banda de la Mumbia), conga player Irochi (Cubatumb) and vocalist Meg (DJ collective Tokyo Sabroso).

- Wild blend of Japanese folk music with cumbia, boogaloo, Ethio jazz, Afro funk + more
- Ry Cooder, Mario Galeano (Ondatropica/Frente Cumbiero), Clap! Clap! are all fans
- European touring plans for autumn/fall 2019
- Includes Japanese lyrics + English translations

- Lacquers cut @ The Carvery

The nickname is superb, as unappealable: The University of Chicha. It is not an exaggeration that, 32 years after the release of Pinceladas Musicales, their second LP, the cumbia band Pintura Roja continues to be recognized as a monumental institution in the history of Peruvian music. Since its foundation in 1984, Pintura Roja has served as the quarry of the greatest exponents of "chicha" music, cultivating in the classrooms of its academy artists like Princesita Mily, considered one of the first women to integrate a chicha band, and Muñequita Sally, the disappeared queen of Andean folk, in addition to the legendary vocalist Toño Centella and the remembered Jhonny Orosco, founder of Grupo Néctar.

Pintura Roja is revolution, innovation, success. It is a commitment to originality, as well as a history of defections and tragedies. But above all, Pintura Roja is Alejandro Zárate Espinoza, its founder, director, composer and lead guitarist. He's "The Gentleman of Cumbia".

In 1984, Pintura Roja is called by Discos Horóscopo to record an LP before the end of the year. The group begins to capture the attention of the public, otherwise, curious about the voice of a woman that they initially confuse with the voice of a child, or perhaps attracted to their lyrics that reflected the dramas and common situations experienced daily by migrants and their first generations in Perú's capital: the abandonment of parents and sentimental counterparts, the incipient poverty and the uncertain present in which they lived. The woman as a fighter, capable of facing alone adversity and triumphant over sexism, appears in some songs, giving it greater relevance the fact that a woman with the power that her voice gave her, sang to them from the top of the stage.

In 1985, Pintura Roja gained popularity on the radio and acquired a one-hour program on Radio Inca called "Pinceladas Musicales". That year, readers of the newspaper El Popular choose it as the favorite band of the year.

It is for the second production that Zárate decided to seek support for Mily, who at that time danced and sang for up to six hours in each presentation. Zárate signs Sara Barreto, a 14-year-old huayno singer known as "Natachita", and gives her a new artistic name: La Muñequita Sally.

The nickname is superb, as unappealable: The University of Chicha. It is not an exaggeration that, 32 years after the release of Pinceladas Musicales, their second LP, the cumbia band Pintura Roja continues to be recognized as a monumental institution in the history of Peruvian music. Since its foundation in 1984, Pintura Roja has served as the quarry of the greatest exponents of "chicha" music, cultivating in the classrooms of its academy artists like Princesita Mily, considered one of the first women to integrate a chicha band, and Muñequita Sally, the disappeared queen of Andean folk, in addition to the legendary vocalist Toño Centella and the remembered Jhonny Orosco, founder of Grupo Néctar.

Pintura Roja is revolution, innovation, success. It is a commitment to originality, as well as a history of defections and tragedies. But above all, Pintura Roja is Alejandro Zárate Espinoza, its founder, director, composer and lead guitarist. He's "The Gentleman of Cumbia".

In 1984, Pintura Roja is called by Discos Horóscopo to record an LP before the end of the year. The group begins to capture the attention of the public, otherwise, curious about the voice of a woman that they initially confuse with the voice of a child, or perhaps attracted to their lyrics that reflected the dramas and common situations experienced daily by migrants and their first generations in Perú's capital: the abandonment of parents and sentimental counterparts, the incipient poverty and the uncertain present in which they lived. The woman as a fighter, capable of facing alone adversity and triumphant over sexism, appears in some songs, giving it greater relevance the fact that a woman with the power that her voice gave her, sang to them from the top of the stage.

In 1985, Pintura Roja gained popularity on the radio and acquired a one-hour program on Radio Inca called "Pinceladas Musicales". That year, readers of the newspaper El Popular choose it as the favorite band of the year.

It is for the second production that Zárate decided to seek support for Mily, who at that time danced and sang for up to six hours in each presentation. Zárate signs Sara Barreto, a 14-year-old huayno singer known as "Natachita", and gives her a new artistic name: La Muñequita Sally.

Finnish electro-tropical ensemble Maajo is delivering a new Queen Nanny EP with Ismaila Sané from Senegal. Currently based in Finland, Sané started his career as a dancer and percussionist in Dakar in 1974. He has since pursued an extensive international career and worked with the likes of Jimi Tenor and Piirpauke. Ismaila and Maajo have produced two powerful songs in Jola language, spoken in Casamance, Southern Senegal. Sèmbè is an off-beat mix of disco reggae grooves, dancehall rhythms, trancey synths, and African gospel. The dub version on the flipside does what a dub is supposed to do, strips the track to its bones for bass-heavy sound system. The second track, Anaata, is a dark and mellow dub disco groover with an equally sublime vocal performance from Ismaila Sané.

Digitaldubs present a reworked version of the classic Gilberto Gil tune form his 1977 LP of the same name. With Gil's original vocal, coupled with Jeru Banto on the mic.

Established in 2001, Digitaldubs was the first reggae sound system in Rio de Janeiro, creating a new chapter in Brazilian reggae culture. Their productions fuse the mood of UK dub, Jamaican dancehall, all with a Brazilian accent.

DJ Center and Sly5thAve share a love of two things: the drum heavy, 'Samba-Jazz' of Brazil and the transcendent songs of the Queen, SADE Adu.

Coming off the success of Sly's epic orchestral interpretation of Dr. Dre's music, The Invisible Man and Center's Afrobeat-infused dance floor rocket, Dem Say Ah (feat. Akoya Afrobeat), the two come together for this future soul session- fuelled with cosmic synths, driving bass grooves, funk-filled guitar licks and a samba backbeat to match.

The lush vocals on the tune come courtesy of Rio de Janeiro's own, Thalma de Freitas, who styles on this version of Sade's Paradise, dancing between lyrics sung in both English and Portuguese, ending in a smoky jazz scat to take out the song. Thalma's melodies transport us to a magical place that we never want to leave, one that could only be found in paradise. A Paradise that Sade once described in 1988, and now one that DJ Center, Sly5thave and Thalma de Freitas revisit in 2018, with their own style and flavor.

The original artwork found on the cover is blessed by the amazing, Indie 184.

INFODUMP recordings hits back with the mysterious MONDO DUMP. Japanese edits at its finest, blended with an obscure b-sider.
Limited copies of gray colored vinyl.

Genre: Electronic, World (Arabic). 180gram vinyl includes 12'x24' art print poster + 320kbps DL card. RIYL: Matar Mohammad, Pauline Oliveros, Nadah El Shazly, Lucrecia Dalt, Chino Amobi, Sote, Arca, Fatima Al Qadiri, Tacita Dean, Stan Brakhage. Jerusalem In My Heart (JIMH) returns with Daqa'iq Tudaiq, the third full-length album from the Montréal-Beirut contemporary Arabic audio-visual duo, following the acclaimed 2015 release If He Dies, If If I f If If If (ye ar-end li sts at The Wire (#39), The Quietus (#24) and A C loser Listen (Top 10), among other accolades).
Featuring voice, electronics, buzuk and other instrumentation from composer-producer Radwan Ghazi Moumneh (Matana Roberts, Suuns, Big Brave) and abetted by the 16mm analog film work of Charles-André Coderre in live performance, JIMH continues to expand the horizons of its profound conceptual and aesthetic engagement with Arabic/Middle-Eastern traditions. Daqa'i q Tudaiq translates as 'minutes that bother/oppress/harass'—which presumably needs no further explanation—and features two distinct album sides of music. Side One realizes a long-held dream of Moumneh's to record a modern orchestral version of the popular Egyptian classic 'Ya Garat Al Wadi' by the legendary composer Mohammad Abdel Wahab. JIMH assembled a 15-piece orchestra in Beirut, enlisting the celebrated Montréal-Cairo composer Sam Shalabi (Land Of Kush) as arranger and musical director for the session. Anchored by the stately hypnotic pace of mallet and percussion instruments (riq, santur, derbakeh, kanun), the piece unfolds with lush, languid, reverb-drenched manoeuvrings through virtuosic Maqam shifts (Oriental scales). Moumneh's melismatic lead vocals and electronic production sensibility pay homage to the genre's documented historical recording traditions, while pushing things subtly and respectfully into new territories of sonic distortion and noised, artefact-laden transmission.
The song's original title (with lyrics penned in 1928 by the poet Ahmad Shawqi) translates as 'Oh Neighbour Of The Valley', but JIMH takes a different line from the original lyric as the new title for its orchestral-electronic re-interpretation. 'Wa Ta'atalat Loughat Al Kalam' (' The Language Of Speech Has Broke Down') is an expression of wordless love and transcendent communication between two lovers' eyes in Shawqi's poem; JIMH re-titles the song with this line, exploding the sentiment with more complexity, tragedy and socio-political meaning - also prefiguring the formal aesthetic ruptures JIMH bring to the piece itself. Love in a time of politics, politics in a world conspiring against love, and the specificity of Arab diasporic experience in our brutish 21st century. Side Two comprises four tracks of non-ensemble 'solo' material by Moumneh which push rupture and decomposition/recomposition of tradition further into avant-garde territory - voice, buzuk and electronics take the lead on a suite of emotive and evocative songs, including the percussive loopdriven instrumental 'Bein Ithnein' ('Between Two' ) and the stunningly unsettling processed vocal track 'Thahab, Mish Roujou', Thahab' ('(The Act Of) Departing, Not Returning, Departing'). Daqa'iq Tudaiq is a masterful, mesmerizing artistic statement and confirms Jerusalem In My Heart as one of the most engaged and forward-looking avant-Arabic projects at work in contemporary music today. Thanks for listening.

South African Mbaqanga And Bubblegum Instrumentals For The Dance-floor. First Time Available Outside South Africa. Cult Favorite Among Collectors. Follows The Successful Reissue Of bafana Bafana' Last Year. Professor Rhythm's 1991 Recording Professor 3 Is A Vivid Reflection Of Urban South Africa As Apartheid Was Ending. Thami Mdluli's Production Project Had Young And Old Dancing To A Sound That Sought To Unite Blacks Within Southern Africa. our Music Gave Hope To The Hopeless,' He Says. Mdluli's Third Instrumental Album (which Contains Some Background Vocals, To Be Exact), Portrays The Moment When The Dominant Mbaqanga And American R&b-based Bubblegum Sounds Being Produced In Johannesburg And Other Urban Centers Were Transforming Into House And Hip-hop-inspired Kwaito. The Pop Of The 80's And All That Went With It—from The Models Of Synths And Drum Machines To The Lyrical Style—gave Way To A Changing Melodic Emphasis And New, Much Slower Tempi Using A Completely Different Rhythmic Skeleton. Upbeat, Chipper Bubblegum, Often With Double-time Breakdowns And Upstroke Syncopations, Faded And The Sounds Began To More Closely Resemble Those Of Contemporary Black America—where Hip-hop Was Slowing Down And The Bass-lines And Melodies Were Getting Moodier, Darker In General. At The Same Time House Music Had Briefly Reached Mainstream Acceptance In The States And That Popularity Continued To Feed Into Awareness Overseas. These Two Influences Blended With The Burgeoning House Music Scenes In Johannesburg And Pretoria As Professor Rhythm 3 Was Being Produced In March 1991 (the Same Year Apartheid Ended). Mdluli Explains, we Were Influenced By Foreign Bands And So People Updated Their Sound.' According To Mdluli, The Evolving Sound Was Bolstered By Widening Availability Of House And Rap Records From Abroad While, Most Importantly, An Increasing Sense That Apartheid Might Soon Be Finished Was Met With A New Positivity Vibe Society. 1991, '92, '93... Mandela Was Released. People Were Upbeat, They Were Happy, The Music Was Good.' Professor 3 Came Out On Vinyl As The Lp Business Was Dying In South Africa And Sold Around 20,000 Copies. It Was Mainly Distributed On Tape, Which Sold Closer To 100,000. With The Help Of Engineer Fab Rosso, The Recording Features Backing Vocalists From Mango Groove. After Making A Half-dozen Records As Professor Rhythm, Mdluli Once Again Shifted His Focus Musically. By The Mid-90's He Had Veered Off Gospel Music— And Left Playing In Bands And Started Making His Own Solo Recordings. His Enormous Success In The Gospel Realm In The Years Since Is A Remarkable Story In Its Own Right, But For Now We Are Only Dancing.

- 180 GRAM AUDIOPHILE VINYL
- FIRST PRESSING OF 750 NUMBERED
COPIES ON ORANGE VINYL

Primarily released to showcase the sublime talents of one of Jamaica's most celebrated vocal trios, The Heptones, the aptly titled Heptones & Their Friends album features a selection of superior reggae sides by the group alongside hugely popular works from the three of reggae's biggest stars of the period: Judy Mowatt, Nicky Thomas and Peter Tosh of The Wailers.

Backed by top session crew, the Now Generation, the Joe Gibbsproduced selection is of a predictably high standard throughout, with highlights including Be The One', a pitch-perfect slice of classic roots, a gloriously cheesy pop cover of the Drfters' Save The Last Dance', the strident Freedom To The People' and one of the biggest Jamaican hits of the early 1970s, Hypocrite'.

Electronica Cumbia, cute and poppy. LTD 200 copies !

Incredibly unique concept album from the one and only, Tom Ze´. As featured in
Rolling Stone magazine's 100 Greatest Brazilian Albums of all-time list (2007).

One of Ze's finest albums in our opinion, originally released by Continental
Brazil in 1976 - a tough one to find at a good price in its original form now.

'Estudando do Samba' (or 'Studying The Samba') is a post-Tropicalia studio
experimentation laiden with layers of hypnotic percussion, effects & samples
that deconstructs the 'samba' form. Recorded during what was arguably his most
creative period.

David Byrne found the record in Rio in the late 90's and included several songs
on his Tom Ze collection for Luaka Bop a few years later. At that time Tom was
not recording or touring much; playing low-key shows in Sao Paulo and
contemplating a move back to Irara´ to work at a service station owned by one of
his cousins. Byrne's project helped to reignite his career and he hasn't looked
back since.

Official Mr Bongo reissue. Licensed courtesy of Warner Music UK Ltd.

Early 1930s ryukoka recordings from Japanese geisha Kouta Katsutaro.

Emerging during the early stages of the recording industry in Japan, the ryukoka style adopted some western classical, blues & jazz elements into traditional Min'yo folk music. Kouta Katsutaro would become one of it's most popular proponents, and along with another popular geisha singer, Ichimaru, forms the basis of a period dubbed the "Katsu-Ichi Era".

'Buntús Rince' translates from Irish as 'basic rhythms', and this new compilation explores how Irish musicians were influenced by strands of different genres of music from around the world, merging them to create their own unique sounds. The compilation features some of the most innovative and talented figures in the history of Irish music and includes rare Irish jazz, fusion and folk outliers from the 1970s and early 1980s from musicians relatively unknown outside of Ireland.

Often regarded as a musical backwater, the 1970s finally saw Ireland begin to make its mark on international music. The nature of this feat is all the more commendable, considering how isolated and conservative the country still was in the middle of the last century. The emergence of acts like Skid Row, Thin Lizzy and Van Morrison instilled in budding young Irish musicians the belief to dream big.

Unlike many other European countries, Ireland had not benefited from the cultural impact of immigration. Pioneering Irish musicians did not have access to the type of vibrant music scenes ubiquitous to most European cities at that time. With no talented players or even in some cases recordings of the music, they had to cultivate and invent their own small scenes.

A jazz scene had begun to blossom in Dublin in the late 1950s. Self-taught players like Noel Kelehan and Louis Stewart emerged as the Irish standard-bearers. Their level of musicianship saw them play with some of the world's most renowned artists. The 1960s would see the emergence of the 'beat' scene in Ireland, with groups like Granny's Intentions, Taste and Eire Apparent finally challenging the hegemony of Irish Showbands. Change was in the air.
The late 1960s also saw many Irish emigrants returning home, bringing with them inspiration from the new styles and sounds of London and further afield. The arrival in the late 1960s of pirate radio stations like Radio Caroline, new music magazines and the availability of music on vinyl meant that different genres were now becoming more accessible. The musical landscape of the country began to transform and evolve, influencing a new generation of musicians in the process.
The 1970s saw advancements in studio technology. 8-track studios began appearing in Dublin, offering more opportunities for groups to record singles and albums. Synthesizers and other instruments were also becoming easier to acquire as the younger generation turned to electric jazz and fusion music.
While the level of musicianship was high, the levels of opportunities in Ireland were still very limited. Many groups and solo musicians had to emigrate to try and succeed.
Thankfully for those who remained, this new emerging scene didn't go totally unnoticed and local labels began to take a chance on more obscure Irish groups. Labels like Mulligan and also producers like John D'Ardis and Terri Hooley championed and documented music from the Irish underground of the 1970s.

Their valuable work is a common thread which connects many of the tracks on this compilation. From the soaring flute playing of Brian Dunning, to the swinging piano of Noel Kelehan and the sonic force of Jolyon Jackson's synthesizers; 'Buntús Rince' lifts the lid on a vastly underappreciated period of Irish music history.
One for the collectors.

French independent label Le Chant du Monde
celebrate the memory of some of the most popular
artists in history.
Cinema buffs around the world have in mind the
singular voice of this essential figure of French
cinema. 'Children of Paradise', 'Hotel du Nord', 'The
Evening Visitors' are among many movies that
have been successful thanks to its magnetic
presence. Léonie Marie Julie Bathiat (15 May 1898
- 23 July 1992), known professionally as Arletty,
was also a very expressive singer who left us,
unfortunately, too few recordings.
This release compiles fourteen of her best songs
alongside Arletty reciting texts extracting from
'Mort à Crédit', a famous French novel by Louis
Ferdinand Céline.

'Chuck Johnson's impact on the contemporary guitar
world continues to be felt. His first two solo records signaled
the arrival of a unique player, steeped in various forms
of playing and influence, yet distinctly modern. Johnson
eschews a weathered traditionalism for the wide-scope
expanse of 21st Century Americana.
'On his third album, Blood Moon Boulder, Johnson
reaches a compositional peak in a nod to the picturesque
naturalism of the American landscape. The dynamics of
his range can be felt on this singular record, a soundtracklike
listen that rewards the ear with rich detail.
'His precision and tone recall the heights of Ry Cooder's
Paris, Texas on the extended opening track 'Corvid Tactics.'
Notably, the guitarist duels with a phantom Chinese radio
signal that slips through the silences during the recording
session.
'One can hear the ghostly sounds peek through at moments
as Johnson bends his strings. 'Medicine Map' delivers a
melodic melancholy, with an every-note-perfectly-placed
aesthetic. Rather than ramble or evoke some kind of
outdated nostalgia, Johnson lets his cinematic instincts
take lead.
'Perhaps most evocative of this approach is 'Private
Violence,' a meditative composition with gorgeous pedal
steel played on top of electric six-string, ending in a
sustained tonal minimalism that could easily stretch into
a whole LP of its own. Blood Moon Boulder contains a
lyricism, an exactitude and emotional arc all its own. And
that's worth playing again and again.'
—Steve Lowenthal, author of Dance of Death: The Life
of John Fahey, American Guitarist

Musically and emotionally, Superpitcher's third full-length studio album, The Golden Ravedays is a one sound autobiography that exhibits the skill, feeling and style that the artist has honed over a period of twenty years, musically, and forty-plus-years, emotionally.

And full-length it is:

The Golden Ravedays is an epic album of 24 tracks that was released in January 2017 and is stretching over 12 respective chapter albums during a one-year period.

The fifth piece of The Golden Ravedays puzzle will be released on Hippie Dance in May 2017.

Number 5 of the series introduces two further tracks of the sound adventure that Superpitcher is taking us on this year.

The djembe drum on the cover and the two titles of the tracks hint that this edition could potentially include stuff that was inspired by the rhythms and melodies of Africa - a sound legacy that is of great importance to Superpitcher. Side A features Bluesin.

Rumor has it that Superpitcher visited South Africa and adventurously traveled into the deep bush-bush where he met new friends with captivating voices who speak in enchanting tongues. Initially, Bluesin is bursting with aching, longing and the oldest story of sorrow but there is also comic relief and pride in this story; typical of the emotional signature of the sound of Africa and the Blues that it gave birth to later on.

Side B features Burkina.

It all starts rather innocently with Burkina.

One gets carried away by the funky, ethnic drumming thinking yummy yes, this is going to be a virtual trip to the Brazilian amazon, or maybe a corner of the Congo, Cameroon perhaps, and one is not even side-tracked by the arrival of birdsong and something that hypnotizes, like beautiful sirens because it is all too groovy for any dictionary, and then, oh boy, then their Mother Superior arrives and all hell breaks loose.

Frogs, kudu horns, rattlesnakes, things that hiss and croak and the haunting voice of Her.

As if that is not enough to make you believe you have been propelled to a new continent, wait until the ending of Burkina!

It will transport you to another universe altogether!

Second elease on newly minted Souk Records (Discrepant), coming swiftly after the mind blowing Palestinian beat LP Muqata'a Inkanakuntu (SOUK01).

For the second release we chose someone who is already part of our Discrepant family - the Colombian tropical masters Romperayo aka Pedro Ojeda.

Back in 2015 we released their self titled debut and now it's time for the follow up, 'Que Jue', ten up-tempo bangers filled with the unique sounds of psychedelic 1970s Cumbia.

Whilst the first Romperayo LP united several musicians around Pedro Ojeda's frantic drum style, Que Jue sees him take the reigns solo armed with instruments, samplers and his trusted drum skills!

'Que Jue' is a fever rhythm joy, an intense voyage to the diverse landscape of Colombian folklore and psychedelic scene. It's also a combination of old and new, an exploration of sample techniques that throwback to classic cumbia but with an electronic minimal vibe that seeks the intense repetition of some dance music produced recently.
All for the sake of pleasure, Romperayo's music is magnetic, impulsive and addictive. The repetitive patterns are mixed astutely and sweaty percussion changes the rhythm whenever it's needed: you don't know that, but they do, and they deliver it frequently with awe. Tropical fusion, new cumbia or salsa on acids You decide.

40 years after its first release, Cameroun born artists Zogo reissues for the first time his EP 'Africa' on Banquise. This release includes new versions by Dan Shake (Mahogani Music), Folamour (FHUO Records) and Tvfrom86 (In The Box Records).

Brazil, Portugal And Cape Verde Resound In The Beguiling Songs Of Thisacoustic Trio. Latin American And African Tinged Rhythms, Connected By Theportuguese Language. "la Dôtu Lado" Is The Second Album Of The Transatlantic Project Coladera,presenting The Various Styles Of Lusophone Music. Led By Brazilian Guitaristvitor Santana And Joao Pires, His Portuguese Counterpart, Who Also Sings Andplays Guitar. The Album Brought Together A Number Of Collaborations That Included Joséeduardo Agualusa, Aline Frazao, Dino Santiago, Bilan, Ana Sofia Paiva, Edumundo, Brisa Marques And Marcos Suzano: Three Musical Universes That Honor Thelusophone Rhythms. Brazil, Portugal And Cape Verde Merge Into A Dialogue Ofguitars, Percussions And Voices, Bringing Together The Rhythms Of Samba Andthe Northeast Region Of Brazil, The Funaná, The Morna, The Coladera And Thebatuque Of Cape Verde, The Portuguese Fado Or The Angolan Lundum. Coladera Was Named After The Rhythm Born Of The Morna, The Traditional Capeverdean Music, Which In Turn Is Derived From Portuguese Fado And Angolanlundum. This Unique Musical Universe Is Interpreted In A Raw, Beguiling Way Bycoladera.

The Hoodna Orchestra is a 12 member orchestra who studies and investigates the African origins of western popular music. The Orchestra was formed in 2012, in the south side of Tel Aviv, by a group of musicians, and it functions as a collective and a record label. Hoodna's musical director is the guitarist and composer Ilan Smilan. The cultural and musical environment that surrounds the group has a great effect on its creative process. Exposure to Ethiopian', Eritrean and Arabic musical traditions, coupled with an ongoing study and exploration of different jazz styles, creates a unique blend which has made The Hoodna Orchestra one of the most appreciated and sought-after live shows in Israel.

Tradition and experimentation are two familiar
territories that C'mon Tigre, a duo who find
their identity by working with musicians from
all over the world, can balance between very
well. As they did for their debut album (2014),
they have put together a multicolored collective
for their second record 'Racines', out on
February 15, 2019 for BDC/K7.
The title is a French word that means "roots",
referring to the musical roots in which C'mon
Tigre's feet, head and heart are immersed, and
from which their contaminated tracks sprout to
create unusual and original sound environments. In their new album the sounds of the
Mediterranean - the sea of their land -
intersect, intertwine and overlap with a
kaleidoscope of other sounds and a new
approach based - they explain - "on the type of
work we had done when we rearranged the first
album for live shows, by emphasizing the
synthetic part of our tracks". This time around
they did it from the very beginning: "The
composition of the pieces immediately included
the use of machines and synthesizers as a
basis for acoustic instruments. The goal was to
reprocess the terrain of Mediterranean
influences that was undoubtedly our starting
point".
Imagine a work in progress where bass and
guitars interact with woodwind, synths, percussions, vibraphones, dipping the listener into a
sensual and hypnotic musical journey. Sailing
from the Mediterranean basin and being guided
by the fascination for Africa and the Middle
East, C'mon Tigre give rise to a personal
language, made up of mixtures with jazz,
afrojazz, the rhythmics of hip hop, funk, 70s
disco. All without ever confining their songs to
one style, but pushing the exploration as much
as possible, into a dimension that every journey
worthy of this name should encompass. "With
the musicians we work with the exchange and
experimentation continue till the end, the
songs can take different directions at any time'.
The result is a mixed, cosmopolitan record,
which escapes from any label for the affirmation of a free attitude. The attitude that led
C'mon Tigre to seek a connection with dancefloor culture, even if considered only as an
evocation to revisit in an absolutely personal
way

Hot on the heels of their acclaimed album 'Tikounen' - an album the Guardian called 'aleap forward in the modern Tuareg sound...truly radical' - Kel Assouf return with an even more transformative collection.

Produced by the band's keyboardist Sofyann Ben Youssef, the mastermind behind AMMAR 808, the new album strips things back to a power trio and focuses on the crackling, electric energy of Nigerian front man Anana Ag

Haroun's next level Tuareg rock songs. Available on CD and 180g heavyweight vinyl Anana exudes a steadied yet powerful charisma when he walks onto a stage. Wearing his trademark Panama hat and holding one of rock

and roll's most archetypal guitars - a Gibson Flying V - both his presence and his music personifies the interconnected paths he has travelled in the past years Kel Assouf's musical journey has flowed seamlessly from the well-spring created

by Ishumar desert rock pioneers Tinariwen - that Haroun first encountered as a young musician in Niger - towards sonic horizons that include the rock classicism of groups like Led Zeppelin, Black Sabbath and Queens of the Stone

Age and the club beats and astral ambiance of European electronic music. On Black Tenere, the band pushes these different textures and influences towards a persuasive, raw-edged crescendo.

The Wire - review + promoting/streaming the album on their website ahead of the release

Additional reviews expected in MOJO, The Guardian, Sunday Times and more broadsheets/music magazines.

Radio: Plays and support from The Cerys Matthews Blues Show on BBC Radio 2 / Gideon Coe on BBC Radio 6 Music / The Tom Robinson Show on BBC Radio 6

Music / X-Posure with John Kennedy on Radio X Plays with On The Wire on BBC Radio Lancashire, African Caribbean show on BBC Radio Leicester 104.9FM, The Outerglobe on Resonance 104.4fm London,

Komos Records are proud to present the first time reissue of a cult French private press rarity at the intersection of jazz, percussion and experimental sounds.

'Hypnotic percussion tracks and organic soundscapes drawing on African, Asian, Indian & South American traditions, recorded deep in the French countryside in 1984."

- Founded by long-time friends Gerard Kurdjian and Stéphane Olivier alongside compatriot Christian Berthier in 1983, Nakara Percussions was a trio from the south of France, fascinated with percussion instruments, rhythms and textures from across the world.

- Steeped in Jazz and ethnographic recordings, the trio designed and built their own instruments and played across the South of France throughout the 80s, recording a single album in the tiny village of Alliens in 1984.

- Self-produced and mainly sold at gigs, the record reflects the inquisitive, experimental approach of the group and has become a cult album among DJs and music lovers for its blend of complex rhythms and organic soundscapes, taking in everything from Brazilian batucada to Indian tabla rhythms by way of West African thumb pianos and the drums of the Maghreb.

- The track 'Balimba' has become a dancefloor classic, finding a home in the sets of openminded techno DJs as well as on the jazz dance and tropical scenes.

Nyami Nyami Records present a lost piece of Zimbabwean musical history: the only album from local legends the New Tutenkhamen, combining Jazz, Soul, Folk and Township rhythms. There are only 2 known copies of the original LP - this reissues make the music available again for the first time in over 40 years.

The New Tutenkhamen included many stars of Zimbabwean township music: Elisha Josamu was an alumnus of the fabulously-named Hallelujah Chicken Run Band (alongside Thomas Mapfumo), and Green Jangano's long-running Harare Mambos, and would later form Two Plus Two with bassist Christopher 'Chex' Tavengwa. Jethro Shasha played the drums, and would arguably become the New Tutenkhamen's most famous export, making continental waves working with likes of Salif Keita. Paul Sekerani played the rhythm guitar, with Amos Chatyoka on the organ, while the enigmatic Maggie Mbuli provided vocals and F. Manda played the sax.I WISH YOU WERE MINE was recorded at Teal Records and was produced by Crispen Matema, a talented jazz drummer in his own right who had played drums on the all-time classic 'Skokiaan', and had backed Louis Armstrong on his 1960 Rhodesia visit. Combining the heavyweight producing talents of Matema and the writing chops of Josamu, the New Tutenkhamen band created an album showcasing various musical styles popular at the time.

From the afro-jazz jam session aesthetics of 'Tutenkhamen Theme', 'Big Brother Malcom' and 'Forever Together', to the almost Van Morrison-sounding 'Sunday Morning'; from the upbeat rock ballad 'True Love', to the funk-infused dance song 'Togetherness'; from the bouncy jazz exhortations to work hard in 'Ane Nungo', to the brassy, raunchy foot-stomper 'Me & Dolly'. The title track 'I Wish You Were Mine' is a ska-infused ballad that wouldn't be out of place in post-war Birmingham, while the star of the show is 'Joburg Bound', itself a fast-paced rock piece with Motown undertones and funky guitar lines.

**UNRELEASED AFRO-CUBAN JAZZ**

Afro-Cuban Jazz of the highest orderl! And even better, these two songs have remained UNRELEASED for the past 52 years! Vibraphonist, flutist, and band leader Ulysses Crockett was a big name on the Bay Area latin-jazz scene of the 1960s. He started out with his own group Afro Blue Persuasion which included a very young Paul Jackson on bass who later became famous as a member of Herbie Hankock's fusion-jazz masters The Headhunters.

"Cuban Fantasy" and "Poinciana" were both recorded live in 1967 but remained unreleased until now. Both songs are taken from the soon to be released 33rpm record titled "Live at Haight Levels" which includes more unreleased material as well as the full length version of both of these two edited tunes.

This 7" runs at 33rpm to provide the best sound quality possible.