Pop & Rock Vinyl New Releases - News

Debut album, released in 1977, by one by one of Anatolian Rock's most sheerly talented vocalists. Turkish psych-rock with some amazing funk drums and fuzzed out guitars. Ersen spent time in Mogollar, 3 Hür-El, and Cem Karaca's Kardaslar before cementing his reputation as the frontman of Dadaslar. His voice can range from one that has a soft edge (where he swallows his notes a bit, like a muezzin would), to growling belt-outs that could have fronted any 80s metal act.

Ersen and his ever-changing backup band wore Slade haircuts and loud jackets with rainbow pants or silver platform shoes, and they grew their moustaches just as long as the Beatle bangs of their Western counterparts.

Get the synth-wizz, funk breaks and fuzzed-out prog riffage behind one of Anatolian Rock's best vocalists!

Original gatefold artwork, insert with liner notes by Angela Sawyer (Weirdo Records), remastered sound.

His very last name, Dinleten, means 'listen'. So back to Anatolia once more and hear the unhinged guitar and electric baglama behind Turkish psychedelia's charismatic singer Ersen. He was discovered by Cem, was connected to Mogollar and 3 Hür-El, and even switched backing bands with Cem before finally hitting the charts with his own group Dadaslar. There's loads of B-sides and burly moves on these 70s singles which make his second LP, released in 1978. Wicked funk drums, fuzzy guitars,organs and the poweful voice of Ersen. Includes "Zalim", the killer psych-funk track made famous by the Gaslamp Killer's edit.

Original artwork, insert with liner notes by Angela Sawyer (Weirdo Records).

From Scratch was an innovative and highly influential New Zealand- based sound-performance group, making extensive use of found and re-purposed objects as well as custom-made instruments in their intricately interlocking percussion music. One of their signature instruments consisted of carefully tuned PVC pipes, played with foam rubber mallets, arrays of these feature prominently, along with drums and tuned percussion, in Gung Ho 1,2,3D, an extended composition which sumptuously investigates polyrhythmic relationships indicated by the number sequences which title each section of the piece. Featured here is the original 1982 recording of the "8, 9, 10" and "9, 10, 11" sections of the piece, previously issued in 1988 by Flying Nun. Rounding out this 2LP and CD release are three 2016 translations of the piece, based on the original score. Japanese group goat provides a driving rhythmic and mathematical analogue, which From Scratch's Phil Dadson, who provides liner notes, describes as "a fast moving shadow, familiar in outline but from another world". German producer Don't DJ imbibes the tribal spirit of Gung Ho and its sense of ritual to deliver a hypnotic immersion, and Utena Kobayashi Group adds wordless voice-worlds and distorted blasts to the ever-onward mix, before a final tropical down-shift.

Heather Trost is best known for her work composing and performing as one half of A Hawk And A Hacksaw. She has also played with Neutral Milk Hotel, Beirut, Josephine Foster, and most recently Thor Harris of Swans. She has arranged and performed with the BBC Concert Orchestra, as well as conductor Andre De Ridder and his Stargaze Orchestra, and toured throughout the world.

In 2014 she released her first solo project, a 7-inch on Ba Da Bing Records, followed in 2015 by Ourobouros, a limited edition cassette of expansive electronic ambient compositions influenced by Basil Kirchin, Terry Riley and Angelo Badalamenti on Cimiotti Recordings. These two projects propelled a full length album: named after a Greek Island, Agistri is a song cycle of freely formed pop songs touching upon soul, samba, and pop music of the '60s and '70s, with a subtle shade of psychedelia. Ambient and melancholic sounds interweave with hammond organs and '70s Italian synthesizers, reflecting the desert landscapes of New Mexico, and the sparse shrubbery and turquoise water of the Aegean sea and its islands.

Bolstered by contributions from Neutral Milk Hotel's Jeremy Barnes on drums and bass, Deerhoof's John Dieterich on guitar, and Drake Hardin and Rosie Hutchinson of cult New Mexico band Mammal Eggs, Trost's talents as a songwriter and arranger explode on this wonderful, often surreal album.

Peter Mekwunye, having recently moved to the United States from Nigeria, self-released One Kind Of Love as a small run cassette in 1993 under the moniker Pedro.
His only prior recording experience being a brief session in a friend's professional recording studio, Peter was determined to continue making music once finding a home in Portland, OR. He assembled a basic home studio (limited to a Casio keyboard, a
microphone, and a multitrack recorder) and set to work recording One Kind Of Love; a unique and personal album, filled with free-form and pop elements in equal measure, and always Pedro's voice with it's message of love, struggle, spirituality, and hope.
Finding inspiration in traditional Nigerian music, as well as the popular sounds he grew up hearing on the radio (including Fela Kuti and William Onyeabor), and as left field as artists like Chuck Mangione and Beethoven (because he continued to create music even beyond his ability to sense it). Peter consigned copies of One Kind Of Love at record shops all over the city, but it remained mostly unheard in 1993, and certainly under appreciated. Stumbling upon this cassette and reaching out to Peter resulted in his being reunited with this music for the first time in years, and together it is our pleasure to share it with you,
now lovingly remastered by Brandon Hocura of Invisible City, and available for the first time ever in the LP format.
This is revolutionary music, and it couldn't have resurfaced at a more necessary time. As the inscription reads, 'This album is dedicated to all Nigerians all over the world, and to all freedom fighters around the world.'

A monumental career in pop music isn't easy when the system is built against you. But South African songwriter, producer and multi-instrumentalist "Om" Alec Khaoli managed to do just that with his band Umoja. As apartheid reached its violent peak, Khaoli pursued an escapist form of dance music that resonated across his complicated country, influencing countless legends and releasing recordings across the world. Umoja, which means oneness or unity in Swahili, was clear in its message to the public. "Oriented towards society, advocating uniting of people. Race was the big thing," Khaoli says. "We wanted people to come together and unite and just form a oneness." Indeed the band's fanbase was mixed among black, colored and white fans. However, their lyrics were not overtly political. "If you wrote songs about apartheid, we would disguise them. If we used language as it was, we would get arrested." The band helped refine a commercially powerful emergent style, bubblegum, with the album 707 in 1988. "Bubblegum music was about escape," according to Khaoli. "If you had grown up in South Africa at the time, there was nothing more in your life than oppression. It was even in your dreams. Anything that was a way out was welcome... When this music was playing everyone just wanted to dance, just have a good time."

"Alpha percussion", recorded in 1985, is a cult groovy ambient album of acoustic percussion, pleasant to listen to and full of samples and break known very well by Djs and artists likes Danny Brown (which uses a sample in "Really Doe", a song of his latest album on Warp Records).
Giovanni Cristiani is one of the most prepared and complete Italian percussionists. Born in Rome in 1952 he graduated in percussion in young age and began playing professionally in Italy and abroad. In 1979, after years of activity at the side of the most popular jazz musicians, constitutes the Music Workshop A.D.E.L., playing drums and percussion courses. Pentaflowers (BEAT Records sub-label and publisher) asked him to make a solo percussion library music album in full artistic freedom that was pressed in limited edition for insiders; so was born "Alpha Percussion", a gem now finally accessible to all thanks to Mondo Groove label.

Paulino Vieira, Bana, and their legendary troupe, Voz de Cabo Verde, made Lisbon the headquarters spearheading the musical revolution taking place within Cape Verdean emigre communities across Europe in the 1980s. Musicians from across the diaspora would eagerly travel to the Portuguese capital to record. But in smaller pockets, second-generation Krioulu musicians were independently contributing to one of the most lush periods of cultural innovation by immigrants in Europe. In 1986, a group of nine teenagers — Antonio Monteiro, Ambrosio Gomes, Emilio Borges, Fefa Cabral, To Pereira, Pedro Varela, Celeste Monteiro, Clarisse, Germano Shares — formed the largely unknown, often overlooked, but consistently brilliant band, Pilon. Combining traditional Funana rhythms and the hybrid ColaZouk style with psychedelic synth work and rugged guitar ostinatos, Pilon refined their sound for years until releasing these recordings as part of their debut album, Tradicao, in 1993, with a tight-knit unit of just five remaining members. The band is still a popular mainstay for parties in the Cape Verdean circles of Frankfurt, Paris, Lyon, Marseille, Rotterdam, and Geneva.

Repress from legendary 1971 ... 180GRAM Psychedelic... 20 minutes per side long trips !

Alemayehu Eshete is considered the golden voice of Ethopia. Since his first hit single "Seul" in 1961 he has become the father figure of the soulful stream of Ethopian music. In Ethiopia no other musician adapted the newest trends from the US soul scene as consequently as Alemayehu did.

With this new 7" he continues his soulful approach on Ethopian music. His funky classic Alteleyeshegnem is here re-interpretated by the Philophon house band in an even funkier way than the original. A tough beat is crisscrossed by mystic harmonies and a pumping bassline. Temar Ledje points out the sweet side of master Alemayehu. This is another classic tune that comes dosed with a rejuvenating cure by the Philophon production team. Just listen!

The cooperation between Alemayehu Eshete and Philophon was initiated by Listros e.V. Berlin with support by the Federal Cultural Foundation of Germany.

Originally released in 1983 and now available as a reissue, 'Cambodian Liberation Songs' is a painful call from forgotten resistance fighters. The Banteay Ampil Band was founded in the Ampil refugee camp near the Thai border. The musicians and female singers, who had hidden their talents during the Khmer Rouge regime, gathered around composer and violinist Oum Dara to engage in a new struggle: the resistance. The album binds together the golden age of Khmer music from the 1960s with the traditional repertoire and the context of the members' daily troubles. The band went to Singapore to record 'Cambodian Liberation Songs', the only record of the Khmer People's National Liberation Front. This expanded reissue includes liner notes, exclusive photos, a postcard and a download code.

"Year Of The Funky" is the second album from Bei Bei () & Shawn Lee. After their debut collaborative album "Into The Wind" (Ubiquity Records, 2010), the Chinese guzheng virtuoso / composer and the prolific multi-instrumentalist / producer join forces again on 12 new tracks. "Year Of The Funky" marries a unique blend of ancient tradition with studio trickery. Eschewing all notions of superficial "Asian/Fusion", this uplifting, genre-bending, and sophisticated sound brings together both East & West with musical aplomb. The new album continues as a logical progression from "Into The Wind". It ventures into both new tempos & moods while deftly connecting the past, the future and what lies beyond.


About Bei Bei

The Guzheng is over 2000 years old and belongs to the Asian long zither family. It was used in both folk and court music in the ancient China. Falling in love with the 5 foot tall x 1 foot wide 21-stringed Chinese instrument at first sight, Bei Bei began playing at the age of seven and received her professional musical training at the Central University of Nationalities in Beijing, China and the Hong Kong Academy for Performing Arts in Hong Kong. She also studied Jazz music and improvisation at Fullerton College in California. Bei Bei roots her art in classical music and expands into other styles, combining new with old into creative new expressions, especially in her collaborations with musicians from different genres such as funk, jazz, alternative, electronica, hip-hop, and dance. She is a multi-award winner of many national and international awards. In 2011, she and her music were included in the American college textbook "World Music" by Michael Bakan. In 2015, she was featured as one of The Most Fascinating People of Los Angeles by LA Weekly Magazine. As a studio musician, she recorded for Sci-fi Channel's "Battlestar Galactica" and award-winning video game original score "Revelation" (). As a composer, she composed music and performed for the China Central TV documentary series "Dun Huang", Chinese movie "Copycat", and for Canon web promo video "Tiger's Heart" . She released her debut album "Quiet Your Mind And Listen" in 2006 and her collaborative album "Heart of China" (Universal Music), with Richard Horowtiz, in 2008. Her last collaborative album "Into The Wind" with Shawn Lee was released through Ubiquity Records in 2010. As an educator and author, she has published two books "Gu Zheng Sessions Vol.1" and "Bei Bei's Easiest Guzheng Course Book 1" with accompaniment CD and videos. She is the director of Lotus Bud Guzheng Academy in Orange County California and business owner of The Guzheng Shop.


About Shawn Lee

Shawn Lee is one of the most prolific musicians of his generation. A multi-instrumentalist, producer, singer songwriter, composer and Radio DJ who has released 35 albums as an artist to date. He has played, produced and written on hundreds of records. He has worked with a diverse range of artists including Jeff Buckley, Kelis, Saint Etienne, Money Mark, Amy Winehouse, Jonathan Jeremiah, Darondo, Adrian Younge, Tony Joe White, Robbie Williams, Incognito and Princess Superstar to name just a few. Lee's music has been used extensively in both film & TV - "Monuments Men", "20 feet from stardom", "House of cards", "Orange is the new black", "Blacklist", "Vice Principals", "Oceans 13", "Eastbound & Down", "Ugly Betty", "Nip Tuck", "CSI," "Confessions of a shopaholic", Cinemaxx, Jaguar, BMW, Barclays, Clarks shoes, Head & shoulders and many many more. He has also created bespoke music for Hermann Miller, Ace Hotels and Wallpaper magazine. As a composer, he has scored two documentary films "Elevate" and "Under the sun". Lee also created the original soundtrack for the feature films "Save Angel Hope", "Live Evil," "12 Dare's" and composed the original scores for video games "Zombie Playground" and "Rockstar's Bully" which was nominated for best score twice - winning once. Shawn Lee is an American and has lived in London England for over 20 years with his wife and his two daughters.

Bullerengue is a tradition that originated in the caribbean region of Colombia, and it can be heard from los Montes de Maria all the way to el Uraba Antioqueo. It is through the drums, chants, and dances that knowledge is transmitted from generation to generation. El Bullerengue is a life style, a way to celebrate festivities, life, and the African legacy in Colombia,

Bulla en el Barrio was born in New York City as a way to continue a learning process that started back in Baranquilla, Colombia. It culminated with the arrival of lead singer Carolina Oliveros to the city in 2013, and her connection with a tight-knit group of local Colombian musicians. They began to fill parks and other public places with the sounds of their home country to a small audience. Little by little, some of this audience became participants, and in turn, the participants became students of the sound who eventually joined the group. The ensemble has maintained a deep focus on the art and discipline of los bailes cantados, a series of spontaneous music and dance from Colombia's caribbean region that share a complex history and rhythm depending on their exact zone and tradition of practice. The tradition of el bullrengue is at the core of Bulla's process, and in the case of these recordings, you will hear two examples (fandango & chalupa) of the three different rhythmic structures that make up el bullerengue.

From the beginning days of Bulla, the group has since transformed into a community of over 12 active members who all share a strong sense of connection to their roots - and consciousness of their ancestors. It is through the participation and love of this active membership that Bulla has become not only a creative space where musical ideas are shared, but also a space of integration and immigrant resistance.

A magical mixture of traditional min'yo songs and Latin jazz elements, this is an original compilation of the work of Japanese singer Chiemi Eri, drawing upon 10-inches released by the Japanese King label between 1958 and 1962. Included are exclusive liner notes and a rich calligraphed booklet with romanized lyrics.

El Origen is a collaborative project between Chile's Rodrigo Gallano (Matanza) and Nicola Cruz (ZZK) exploring the folkloric musical traditions of South America. The A side is comprised of original compositions written, played and sung by Rodrigo while Nicola Cruz remixes all the tracks on the B side, giving the sons his signature deep electronic vibe. The EP will be out on a special limited edition 12" with art composed by renown street artist Ju Mu Monster.

'THE GOLDEN ERA OF SINHALESE AND TAMIL FOLK-POP MUSIC' - A 30-track DOUBLE-LP compilation presenting Sri Lankan musical styles that were fashionable between 1967 and 1979. The included booklet depicts the country's historical, cultural and musical context. This selection, which mainly consists of titles from the catalogue of Sooriya Records, presents the most popular artists of the times. Featured are virtuoso sitar and violin player Pandit Amaradeva, singer Indrani Perera, Paul Fernando and his lively baila rhythms, psychedelic Tamil producer Paramesh, Clarence Wijewardena and the Golden Chimes.

This album represents a high point in 1960s British jazz, a time of experimentation, integration and joy. This is effortless, unique and very beautiful jazz, exotically tinged with elements from Indian musical tradition.

Now I could go on and on about how amazing and beautiful this LP is but please, just trust me, I've been a collector of British jazz since the early 1990s, this was one of the first LPs I found, originally from 'The Diskery' in Birmingham. It was £30, which was my lunch money for a week back then. I loved it, I marveled at the grace and skillful, flowing simplicity of the music. I loved the fact this was an Indian man inspiring the great British jazz masters with the rhythms, ideas and influences of his home country. I still love this album today and have watched as prices for originals have soared from £200 to £1200 in the last few years, making it impossible for more record collectors to appreciate it. Criminally overlooked when it first came out (hence its rarity today), hopefully this FIRST EVER repress will allow more collectors to appreciate just how harmonious and beautiful music made by supreme, international but impoverished jazz artists can be.

VINYL: Full colour sleeve - exact copy of the original. Standard vinyl, cellowrapped. Barcode stuck to cellowrap, not on sleeve.

In early 1978, Vincent Ahehehinnou left the Orchestre Poly-Rythmo de Cotonou without explanation. He had
been one of their principal vocalist since 1968 and had helped transform them from a hard-charging nightclub
band into a musical powerhouse and Africa-wide sensation. By the end of 1977, after an explosive performance
at the pan-African arts and culture festival (Festac77) in Lagos, the band had reached the very pinnacle of their
success.
For nearly forty years, the reasons behind Vincent's sudden departure have remained a mystery. Until now. In an
interview included with Analog Africa's new reissue of Best Woman - Vincent's first post-Poly-Rythmo album,
which has been out-of-print for close to four decades and nearly impossible to find outside West Africa - the
great singer finally breaks his silence. He didn't leave ... he was pushed.
Poly-Rythmo were already popular in their native Benin but, in the aftermath of Festac '77, the band were poised
for break-out success throughout Africa. One of the people who stood to benefit most was the band's manager
Adissa Seidou, whose label Albarika Store had released most of the band's recordings. However Adissa's vision
for Poly-Rythmo didn't always line up with that of the musicians and, more often than not, it was Vincent who
spoke up for the band.
The two men grew increasingly estranged until one day - at the funeral for Adissa's father no less - Adissa gave
Vincent an ultimatum of sorts. In Vincent's own words: 'I asked him if there is a way we could sort out our
differences to which he replied that the only solution was for me to leave the band, adding, 'if not I will kill you''.
And so Vincent found himself forced out of the band he had helped build. He tried his hand at various business
ventures, but soon realised that the pull of music was too strong. On a business trip to Nigeria, Vincent met with
Ignace de Souza of Benin's Black Santiago band, who agreed to arrange Vincent's songs, assemble musicians,
and book a session at the legendary Decca Studios in Lagos.
With everything in place Vincent returned to Cotonou, gathered together all the money he had saved over the
years and set out again for Lagos. But the simple bus journey to Nigeria turned into a nightmarish odyssey of
military corruption ... and had it not been for the random kindness of an unknown woman on the bus, this album
- along with Vincent's subsequent solo career - might never have existed. Vincent tells the full story in the liner
notes to this LP.
But Vincent did make it to Lagos and the sessions went ahead. The nine-piece band, handpicked by de Souza,
learned the songs and set them to tape in the span of only a week ... but the results are as timeless and
essential as anything to emerge from West Africa in the late 1970s.
Vincent's afrobeat credentials are in full evidence on opening track 'Best Woman' (English) whose driving beat,
focussed horns and intricate vocal melody recall the raucous intensity of Poly-Rythmo. But the deep funk of the
title track turns out to be only a warm-up for album-highlight 'Maimouna Cherie' (French), a moving expression
of love and longing which kicks off with a hi-hat and wah-wah guitar workout but shifts gears mid-way into a
more concentrated and contemplative groove.
The funk and afrobeat gems on Best Woman are balanced by songs that draw upon Sato, one of the many Vodoun
rhythms of Vincent's native Benin. Side one concludes with 'Vi Deka' (Mina), an epic slow-burner propelled by some of the
record's most soulful vocals, while album closer 'Wa Do Verite Ton Noumi' (Fon) all but dares you not to lose yourself in
its sublime hypnotic trance.
Best Woman was released on Nigeria's Hasbunalau Records in 1978, and original pressings are now highly-prized
collector's items. With this reissue on Analog Africa's Dance Edition imprint - newly mastered by Nick Robbins, cut by to
vinyl by Frank Merritt at the Carvery, and approved by Vincent himself - Best Woman makes a welcome and long-overdue
return to turntables around the world.

Soul and Makossa. "World Music", a two-word universe, was born in the early 70's. For the first time Africa, in the form of Cameroon Makossa, nosed its way into soul, the heir to jazz and rhythm'n blues.
As is often the case, this particular stage in musical evolution, which today is considered as capital, was at the time nearly missed, the b side of a single which should never have got further than the suburbs of Douala. The grandpappy of Makossa Soul, Manu Dibango, plays a key role in our century. Okay, so his work is uneven. That is because he is not after perfection and success every time. Dibango is at least as much a journalist, an anthropologist or a philosopher as he is a musician. Without him, "World Music" would no doubt have existed all the same, but it would have taken at least fifty years longer!

Emmanuel "Manu" N'Djoké Dibango (born 12 December 1933) is a Cameroonian musician and song-writer who plays saxophone and vibraphone. He developed a musical style fusing jazz, funk, and traditional Cameroonian music. He is best known for his 1972 single, "Soul Makossa".

He was a member of the seminal Congolese rumba group, African Jazz, and has collaborated with many other musicians, including Fania All Stars, Fela Kuti, Herbie Hancock, Bill Laswell, Bernie Worrell, Ladysmith Black Mambazo, King Sunny Adé, Don Cherry, and Sly and Robbie. In 1998, he recorded the album CubAfrica with Cuban artist Eliades Ochoa.
The song "Soul Makossa" on the record of the same name contains the lyrics "makossa", which means "(I) dance" in his native tongue, the Cameroonian language Duala. It has influenced several popular music hits, including Michael Jackson's "Wanna Be Startin' Somethin'", as well as his re-recording of that song with Akon, the Fugees' "Cowboys", and Rihanna's "Don't Stop the Music". The 1982 parody song "Boogie in your butt" by comedian Eddie Murphy interpolates Soul Makossa's bassline and horn charts while "Butt Naked Booty Bless" by 1990s hip-hop group Poor Righteous Teachers heavily samples its musical bridge and drum patterns.

Manu Dibango was appointed a UNESCO Artist for Peace in 2004.

Soul and Makossa. "World Music", a two-word universe, was born in the early 70's. For the first time Africa, in the form of Cameroon Makossa, nosed its way into soul, the heir to jazz and rhythm'n blues.
As is often the case, this particular stage in musical evolution, which today is considered as capital, was at the time nearly missed, the b side of a single which should never have got further than the suburbs of Douala. The grandpappy of Makossa Soul, Manu Dibango, plays a key role in our century. Okay, so his work is uneven. That is because he is not after perfection and success every time. Dibango is at least as much a journalist, an anthropologist or a philosopher as he is a musician. Without him, "World Music" would no doubt have existed all the same, but it would have taken at least fifty years longer!

Emmanuel "Manu" N'Djoké Dibango (born 12 December 1933) is a Cameroonian musician and song-writer who plays saxophone and vibraphone. He developed a musical style fusing jazz, funk, and traditional Cameroonian music. He is best known for his 1972 single, "Soul Makossa".

He was a member of the seminal Congolese rumba group, African Jazz, and has collaborated with many other musicians, including Fania All Stars, Fela Kuti, Herbie Hancock, Bill Laswell, Bernie Worrell, Ladysmith Black Mambazo, King Sunny Adé, Don Cherry, and Sly and Robbie. In 1998, he recorded the album CubAfrica with Cuban artist Eliades Ochoa.
The song "Soul Makossa" on the record of the same name contains the lyrics "makossa", which means "(I) dance" in his native tongue, the Cameroonian language Duala. It has influenced several popular music hits, including Michael Jackson's "Wanna Be Startin' Somethin'", as well as his re-recording of that song with Akon, the Fugees' "Cowboys", and Rihanna's "Don't Stop the Music". The 1982 parody song "Boogie in your butt" by comedian Eddie Murphy interpolates Soul Makossa's bassline and horn charts while "Butt Naked Booty Bless" by 1990s hip-hop group Poor Righteous Teachers heavily samples its musical bridge and drum patterns.

Manu Dibango was appointed a UNESCO Artist for Peace in 2004.

The Highwaymen were a country music super-group composed of four of the biggest outlaw country artists: Johnny Cash, Waylon Jennings, Willie Nelson, and Kris Kristofferson. The band was active as a group between 1985 and 1995.

In 1984, Glen Campbell first played the song Highwayman' for Johnny Cash. The four were all together in Switzerland doing a television special and decided that they should do a project together. While the four were recording their first album, Marty Stuart again played the song for Cash, saying it would be perfect for them-four verses, four souls, and four of them.

Campbell then played the song and the quartet had the name for their new super-group The Highwaymen', the name of their first album, Highwayman, and the name of their first single. The four thought it was a perfect name for them because they were always on the road and all four had the image of being outlaws in country music.

Both the album and the single eventually reached the top spot in the country music charts.

Their remake of Guy Clark's Desperados Waiting for a Train' reached the Top
20. (Clark is frequently referred to as The Fifth Highwayman'.)

The four original members starred together in the 1986 film Stagecoach'.

Analog synthesizers, drum machines and oriental lutes'

Ko Shin Moon is the first contemporary artist signed and produced by Akuphone and reflects perfectly the new cosmopolitan sound that the label wanted to highlighting.

Blurring the lines between time and space, Ko Shin Moon mixes acoustic instruments from various regions of the world, analog devices, traditional music, electronic arrangements, sampling and field recordings.

As the soundtrack of a patchwork journey, the band's first LP conveys one along a succession of hybrid territories, imaginary sound landscapes, multicolored collages: Acid Dabke, Turkish-Greek Disco, Cosmic Raï, New Beat Molam, Tibetan Ambient, Synth Wave Hindi Filmi, Rickshaw Dance Music...

Comes with download card.

FUTURE SOUND HAS NO BORDERS!

This brand-new mini album has its title inspired by "Space Is the Place", one of Sun Ra's most thematically outbound releases. Sun Ra's rocket-propelled vision is electronically diverted and re-channeled to unknowable and unnameable destinations in these 2016 recordings by German electronic/experimental producer Florian Meyer, aka Don't DJ, a member of the Durian Brothers and co-runner of the Diskant and SEXES labels. Channeling the Sun Ra Orchestra's sprawling Afro-futurist vitality, concentrating that energy through his own focus on evolving repetition, alien intervals and subtle variations of rhythm and timbre, Don't DJ heads for (no)places unknown. Get on board!

This is the third 12" release in support of the film "Bangkok Nites", this time it's Kensuke Ide with his Mothership teaming up with Pongsapong Upani, a renowned young khaen player from Kalasin province. Songwriter/Producer Ide, and Upani, who accompanies molam greats such as Chawiwan Damnoen and Angkhanang Khunchai, fuse J-pop with luk thung-molam in a cool, catchy confection, accompanied by an instrumental version, a manically percolating remix by Hair Stylistics (the artist formerly known as Violent Onsen Geisha), and two groovy locked grooves. A sweet J/Thai meeting here, with a great feel, a summery melody, clever lyrics based on a Japanese folk song, attentive production and fine playing.

ISLAND OF THE GODS is back, with the first in the series of the 'Island Explorer' Lps. London based artist Black Merlin delivers with the atmospheric HIPNOTIK TRADISI LP - 300 copies.
Black Merlin ventured to the wild lands of Indonesia. Exploring Bali and the neighboring islands. Working closely with the old world musicians and sounds of the magical Bali. Recording Gamelan, Gong, Bamboo and a number of field recordings from around the island. Jungles, sea, island wildlife and everything in between were recorded, capturing the atmosphere of the Islands.
The raw recordings were then taken back to his studio in London, where he crafted the recordings; re interpreting them into a full Lp. Taking on a soundscape and hypnotic sound, which embodies the spirit of Indonesia through his own vision. A tropical Voyage captured on the beautiful LP.

Akbay Recordings proudly presents its first release: Müslüm Gürses - Mutlu Ol Yeter.

Müslüm Gürses was a significant figure for the Turkish music created with a civil initiative other than the institutional Turkish music forms of state represented by TRT (Turkish Broadcasting Institution). Along with other representatives such as Orhan Gencebay, Özer Senay, Hakki Bulut and Ferdi Tayfur, Müslüm Gürses is known as a singer who can interpret songs from almost every genre.

Mutlu Ol Yeter is an album of eclectic sounds derived from the Turkish, Arabic and other middle eastern sounds with the usage of harmonization techniques of western world. On the other hand these harmonization techniques are also interpreted in an eclectic approach of musicians who have roots in both eastern and western music. Farfisa and Hammond sounds, strange drum breaks and a gloomy but a cheesy atmosphere is waiting for you in this eclectic musical journey. After the reissues of Turkish psychedelic music for almost 2 decades, this LP will be an experience to witness the experiments in Turkey from the eastern rooted eclectic side.

The album was originally released in 1981 and was a bestseller.

Minas - Num Dia Azul vinyl LP album US reissue! Sound Of Brazil Samba / Bossanova. First album of the duo originally released in 1983.

Strut present the first official reissue of a landmark album in the field of African music, Mulatu Astatke's 'Mulatu Of Ethiopia' from 1972. Across three formats including a special 3LP version including unreleased bonus cuts and a special unreleased mono pressing of the album.

The wait is finally over. The greatest living female voice in African music, Oumou Sangare releases a new album "Mogoya" (meaning "people today") on a new record label with an all-new production team and a wonderful new set of songs.

The power of Oumou's voice and the potency of her message remain as strong as ever and, while her sound is rooted deep in the continuity of Malian tradition, Mogoya has a strong new sound. Co-produced by Andreas Unge in Stockholm and by the French production collective A.l.b.e.r.t. (who have worked with among others Air, Tony Allen, Charlotte Gainsbourg, Beck, Franz Ferdinand) in Paris, it draws on a rich musical heritage whilst also looking to the future.

"We wanted to emphasise the raw power of Oumou's voice and songs. We wanted to find a new modernity" says co-producer Ludovic Bruni, one of the three members of A.l.b.e.r.t. with Vincent Taurelle and Vincent Taeger.

On the album, traditional African instruments - the kamele n'goni (harp), karignan (metal scraper) and calabash percussion - are augmented by electric guitar, bass, keyboards and synths with Tony Allen on drums. As Oumou puts it, "This time round I wanted to go for more of a modern sound, to satisfy young people in Mali but being careful, all the while, to respect my culture and tradition".

The songs describe what Oumou knows best human relationships. She addresses difficult topics with incredible frankness - jealousy, ingratitude and betrayal never afraid to sing about the day-to-day problems faced by African society, particularly women.

Oumou has a high international profile, touring all over the world, collaborating with artists such as Alicia Keys, Tracy Chapman, Bela Fleck and Dee Dee Bridgewater and featuring on the soundtrack of Toni Morrison's Beloved. She is a Goodwill Ambassador for the United Nations Food and Agricultural Organisation and has three businesses in Mali a range of SUVs called 'Oum-Sang', a hotel in Bamako and 'Oumou Sangare 769, Rice', grown in her own fields.

She has released six albums on the World Circuit label: Moussolou, meaning "women"(1990), Ko Sira (1993), Worotan (1996), Oumou (2003), Seya (2009) and Kounadi (2012).

Music is at the absolute centre of Oumou's life: "without it I'm nothing and nothing can take it from me" and Mogoya represents an exciting new chapter in her career, something which she approaches with a mixture of boldness, humility and confidence."It was new for me because my music has never had this kind of arrangement and sound before. I've been totally in the tradition for years now so to get out of that and have a look around elsewhere was a total pleasure," Oumou Sangare.

Blair French comes through with a Detroit Deep House meets Afro-Brazilian Beat stomper. The A side title track holds a nearly 10 minute aural odyssey feat. Paul Randolph (Jazzanova / Mahogani Music), Ryan Gimpert (Will Sessions), and Topher Horn (Rocksteady Disco). The flip holds "Ayiba I Yeri O" and "Pagode Americano", 2 world Beat dance floor destroyers.

Repress from 1978 original tunes.Total Reggae shaker !

Fanfare Ciocarlia non-stop road movie ! An absolute must have !

Repress from 2000. Dubmaster of the keyboards !

Spanish Guitar Jazz !