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'Que Vida É Essa' is a certified samba-rock classic from 1973, taken from one of Wal's sought after 7"'s. Uptempo for the dancers, with percussive grooves, chic and even some wave sounds for extra sunshine vibe.

'Atôa Atôa' is a samba-jazz-fusion classic by Ronald 'Ronie' Mesquita, featuring Burnier & Cartier. Taken from the sought after 'Ronie & Central Do Brasil' LP on Tapecar. Previously unreleased on 7".

Endlich ist der Sommer in der Hauptstadt angekommen - endlich ist es wieder Zeit für Sonne auf der Haut, Kalte Drinks an der Spree und entspannte Open Airs. Zum
Sascha Braemer mit seinen düsteren Deep House Sounds die Ehre, während du von Robin Knaaks entspannten Tropical House umgarnt wirst. Robin Schulz, Lions Head und Alle Farben laden zumChillout-Rave ein, während Thomas Lizarra feat. Schwarz mit dem auf about: berlin vol:14 exklusiven Song - Shine' die Hymne des Festivalsommers liefert. Zudem feiern die Produzenten Frank & Friedrich gemeinsam mit dem Australier Duncan Woods mit ihrem Song - Coming Home Weltpremiere.Ab dem als 2CD und Download erhältlich. Für die besonderen Liebhaber erscheint zudem ab [aE] CD 1-5 |

A mad beast of a Dave Kelly — as the label logo has it (derived from Tubby, like the music) — faced down brilliantly by singer and deejay. Out originally in 1989 — another death-in-the-arena BR revive.

Rise, Seun Anikulapo Kuti picks up the mantle as undisputed champion and true prince of the Afrobeat movement.

The latest chapter in the long standing relationship between Gilles Peterson and the music of Cuba sees him explore the roots of rumba through a project comprising three parts: a feature length documentary, a collection of remixes and a free sample pack. Produced in collaboration with rum maker Havana Club - creator of the Havana Cultura platform to promote contemporary Cuban culture - this is another episode in a six-year relationship that's already given vital exposure to different aspects of Cuba's thriving music culture through the Havana Cultura album series. Peterson worked with the island's esteemed rumberos to record authoritative versions of the three rhythms as well as discuss what differing meanings and origins are attached to each.

The recordings of rumba's three key styles were handed to a crop of producers working in the orbit of the most interesting corners of club music, allowing for an exciting, global re-interpretation of rumba's roots. The result is Havana Club Rumba Sessions: a collection of remixes that's as varied as you'd expect from a roster of producers spread across locales as wide as South London to Japan and beyond. Berlin-based Max Graef & Glenn Astro deliver a kickdrum-sprung workout that pays testament to the free and easy hip hop beat making in a style that's long been their m.o. whilst Motor City Drum Ensemble's four-to-the-floor arrangement loops things up into a hypnotic slow burn.

Death Is Not The End come with a much needed reissue of Mushroom Ceremony of the Mazatec Indians of Mexico. LP edition limited to 300 copies only.

Recorded on the night of July 21/22, 1956 by V.P. & R. Gordon Wasson, these are rough and ready field recordings featuring the voice of Maria Sabina (1894-1985) a Mexican curandera who would perform healing vigils known as veladas in Huautla de Jimenez, Oaxaca where all participants would ingest psilocybin mushrooms (Maria's "holy children"), as a sacrament to open the gates of the mind and communicate with the sacred.

Death Is Not The End come with a much needed reissue of Mushroom Ceremony of the Mazatec Indians of Mexico. LP edition limited to 300 copies only.

Recorded on the night of July 21/22, 1956 by V.P. & R. Gordon Wasson, these are rough and ready field recordings featuring the voice of Maria Sabina (1894-1985) a Mexican curandera who would perform healing vigils known as veladas in Huautla de Jimenez, Oaxaca where all participants would ingest psilocybin mushrooms (Maria's "holy children"), as a sacrament to open the gates of the mind and communicate with the sacred.

A very welcome and first time reissue of this amazing LP. Beautiful deep Brazilian music that soothes the soul.. Tip!! Click here to listen Originally recorded at Estúdios Da Somil between September 1973 and October 1974.. A handful heavyweight Brazilian musicians have been working together on this album; Orlandivo, Hermes & Zé Roberto to name a few, we think you can definitely hear their influence in a positive way..

Wicked compilation. Holds only rare top notch zouk tracks that have never been compiled before. Superb for your tropical dancefloor. Winners only! BIG TIP!
According to the label:
After the success of « Kouté Jazz », Heavenly Sweetness comes back with a dancefloor but not jazz compilation, enough to move your feet at through the whole summer ! 13 disco, boogie and Zouk tracks recorded in the 80's in the West Indies.

The advantage of this selection is precisely that it reveals a broader spectrum than the zouk music style that are badly defined. Most of the tracks, were not much broadcasted even if interpreted by some big names in Caribbean music (Pierre-Edouard Decimus / Patrick St. Eloi / Eddy La Viny). They were too fast classified as Zouk. These Tracks reveal this will of singularity, this merger between traditional and other rhythms genres (funk, disco, afro-beat, Latin Brazilian ...), with the addition of new instruments such as synthesizers and drums machine in the creative process.
In many zouk's albums, this period often included one or even several, tracks that were qualified as "proto-zouk" and "funky-zouk" or the "boogie-zouk" to emphasize the fusion of genres . But these tracks have remained unknown to the general public because only the "hits" were played on the radio, dance floors (the famous "tan" or 'zouk'), clubs and bus.

Sega music is rooted in the musical underground of slaves arriving from Africa and Madagascar on the shores of Mauritius, Réunion and the Seychelles, in the south-western corner of the Indian Ocean, during the seventeenth century. Over time this Creole culture adopted Western instruments and traditional European forms like the quadrille and waltz, even as it articulated the cultural impact of hired workers from India. In the modern era, the gramophone brought all kinds of music to the mix, and violins and accordions were replaced by electric guitars, drums and keyboards, as psychedelic synths, fuzz and elastic bass lines re-cast the traditional polyrhythms of drums, ravannes, bongos, claves, triangles and maracas. Record production boomed, hundreds of small labels sprang up...

6 previously unreleased songs now available for the first time on vinyl !Super Mama Djombo is a wonderful band from Guinee-Bissau / West Africa who have been mostly active in the 80ties. This music is recorded 1980 in Lissabon and all the songs have been mastered from the original master tapes.

When Hugh Tracey (1903-1977) made 35,000 field recordings across Sub-Saharan Africa between the 1920s & 1970s, his intention was to reveal the beauty and complexity of the music to a world that saw little value in it. Today, almost 90 years later, Tracey's bid to preserve the music of Africa for future generations' lives on. 'Beating Heart - Malawi' has connected the archive at the International Library of African Music (ILAM) with contemporary producers, making fresh sounds for a modern audience. This "originals" album collates the source material supplied to modern contemporary electronic artist to remix but is a historical document in its own right and a fascinating insight into Malawi's rich musical heritage.
He recorded: Mouse-hunting songs, African separatist hymns, songs about rain and poverty, songs for pulling canoes, songs which warn against European beer, songs which complain about venereal disease, songs about the sounds of unseen aeroplanes, songs about a mosquito overturning a lorry, about a donkey complaining it wants wages instead of maize, about a baboon that dies after somersaulting for joy at hearing the sound of drums, commentaries on urbanisation, labour organisations and a praise song for a bicycle mender.
Building on Tracey's vision, the income generated will be used to assist people in the areas where the music was originally recorded.

Following on from the critically acclaimed Mallet Guitars trilogy (2010-13) and Large Electric Ensemble (2014) and honed across high profile live appearances including the Stewart Lee curated ATP, Liverpool Psych Fest and the Edinburgh Fringe, Twenty-Two Strings is the latest album from UK-based experimental trio Ex-Easter Island Head. Utilising horizontally-laid electric guitars and bass, the group continue to develop their own distinctive musical language, eschewing digital processing and effects for a vocabulary of mechanical preparations and extended techniques, creating a sound drawing on minimalism, gamelan and process music.

First released by Trojan in the wake of The Maytals' 1969 UK hit, 'Monkey Man', the album quickly became a must-have for all British fans of the exciting new reggae sound that had emerged from Jamaica.
The album showcased The Maytals' inimitable style for an international audience and in so doing proved instrumental in establishing the trio of Toots and the group as global stars.
Despite the original album's popularity, copies have long since been collector's items, selling for sums well beyond the budgets of most record buyers.
Now, at long last, this classic album, showcasing the work of one of Jamaica's most popular groups, is finally available on vinyl once again.
Mastered from the original Trojan 1/4' analogue master tapes and pressed on high quality vinyl, the sleeve and label artwork faithfully replicate that of the 1970 issue, ensuring the authentic look and sound of the album.

Issued in 1969 by Doctor Bird Records early on the company's Pyramid subsidiary, 'The Israelites' came hot on the heels of Desmond Dekker's international smash hit of the same name.
Such was the extent of Dekker's global success that the album was licensed to companies around the world, seeing issue on a variety of different imprints and with a diverse array of sleeve designs.
Despite the popularity of the album it has remained unavailable since its original release almost half a century ago.
Now at long last, reggae fans can once again own a brand new copy of this hugely popular and significant album at an extremely affordable price.
This faithful reproduction of the original UK issue has been mastered from the best available analogue source and is pressed on the highest quality vinyl.

Wicked compilation. Holds only rare top notch zouk tracks that have never been compiled before. Superb for your tropical dancefloor. Winners only! BIG TIP!
According to the label:
After the success of « Kouté Jazz », Heavenly Sweetness comes back with a dancefloor but not jazz compilation, enough to move your feet at through the whole summer ! 13 disco, boogie and Zouk tracks recorded in the 80's in the West Indies.

The advantage of this selection is precisely that it reveals a broader spectrum than the zouk music style that are badly defined. Most of the tracks, were not much broadcasted even if interpreted by some big names in Caribbean music (Pierre-Edouard Decimus / Patrick St. Eloi / Eddy La Viny). They were too fast classified as Zouk. These Tracks reveal this will of singularity, this merger between traditional and other rhythms genres (funk, disco, afro-beat, Latin Brazilian ...), with the addition of new instruments such as synthesizers and drums machine in the creative process.
In many zouk's albums, this period often included one or even several, tracks that were qualified as "proto-zouk" and "funky-zouk" or the "boogie-zouk" to emphasize the fusion of genres . But these tracks have remained unknown to the general public because only the "hits" were played on the radio, dance floors (the famous "tan" or 'zouk'), clubs and bus.

If you thought that Erkin Koray was the only psychedelic musician from Turkey, then you should think again, but were Erkin Koray was Rock'n'Rock, what we have here is Folk'n'Fuzz. A genre that stands alone and arrived from Turkey in the late 60s and early 70s. Yes it's a name I just made up but it works perfect for what will blow you away when you put the needle on the vinyl.

What can be said about these one hit wonders Well one hit wonders come and they go, some resurface elsewhere while others fade away into obscurity. We don't have much information about the groups, for example the album's opener is by a group called Uyanis (The awakening), what we do have is a blistering fuzz guitar riff that trades places with a great bass line. A perfect opener for the album if there ever was one. Great riffs and bass lines seem to be the forte of these Folk'n'Fuzz bands. Maybe it was something in the Istanbul water in those long lost days of old.

Sila 4 and Güryeller originate from Cyprus, each made a few singles and then disappeared. The fuzz guitar and bass and drum freak outs makes me wonder what other psychedelic gems we may discover from Turkish Cyprus

Rifatöncel is probably the most prolific artist on this compilation having clocked up 6 singles between 1971-1973. This was Rifat's last single and my favourite due to the excellent guitar and vocal Question/Answer interplay.

Things get even more interesting with the inclusion of Kadiköy Ticaret Lisesi, Istanbul Erkek Lisesi and Tarsus Amerikan Koleji bands. All three were college bands that entered the Milliyet newspapers college band competition in the late 60s. The song titled L.S. and D.' should tell you all you need to know about them! It's such a shame these bands recorded only one single each!

Lili Ivanova was a Bulgarian singer who made a single in Turkey. When I first heard this I could not tell she was singing in Turkish, it sounds French to me!

We don't have any information about the other bands on this compilation apart from the music they made, they all share one thing in common, great guitar playing, excellent arrangements and crazy middle eastern scales playing the best Fuzz'n'Folk you will hear in life.

Tradition shapes your work. For saxophonist and bandleader Shabaka Hutchings, that's something he's long understood. After years spent in the orbit of London's jazz circuit, he examines and reimagines his influences with a dexterity that's unique. Drawing out the vision underlying his new album, he says, I see energy as being a form of wisdom to be passed down through the ages.'

Unpicking the album's title, he continues, "When we study the music, the lives, the words of our master musicians we obtain a glimpse of that artist's essential energy source. This is the core vitality of the individual which leads them to utilise the musical specifics of their chosen genre in a way that mirrors their inner source of power. This is an intuited wisdom that's handed to us from the legacies of our elders.

The album is a document of sessions combining Hutchings with a group of South African jazz musicians he's long admired. His connection to the group was Mandla Mlangeni (bandleader of the Amandla Freedom Ensemble), whom he'd flown there to play with over the past few years. Recorded across just one day, the group drew on their South African lineage - heroes like Zim Ngquwana and Bheki Mseleku - to bring their own slant to the American jazz lineage which is reconfigured in Hutchings' compositions themselves.

Going beyond the jazz greats Hutchings cites, influences are drawn from plenty of other sources: Caribbean calypso, central African song structures and Southern African Nguni music all play a part. Bringing together those ideas with the contributions of his bandmates is, he explains, crucial to what he sees in the role of an album artist. Even though I wrote all the music, for me, the leader of the project isn't the person who writes all the music but the one who has a vision for how certain musical elements will be combined."

A regular sight on stages around London and beyond, playing - and often leading - groups like The Comet Is Coming, Sons of Kemet and Melt Yourself Down, he's part of a generation whose idea of jazz is pointedly unrefined. That's to say, Wisdom of the Elders comes from an artist interested in the indefinable gaps more than fitting into boxes.

Remastered and limited edition reissue of 1971 Brazilian Samba/Jazz rarity, for fans of Cartola and Bezzera Da Silva, Caetano Veloso, Joao Donato. Jorginho Gomes Pessanha (1931-1981) released two solo albums in the 1970s. Born and raised in the Parada De Lucas suburb of Rio De Janiero, Jorginho Pessanha aka Jorginho' was the son of the founder of the United Samba School Chapel. Jorginho ultimately joined the hugely influential Imperio Serrano School of Composers under the tutelage of Imperian President Moacyr Rodrigues, who was part of Brazil's delegation to the First Black Arts Festival in Senegal in 1966. This is a hard-to-find piece of 1st-tier Samba, recorded in 1970, which will appeal to fans of Brazilian Funk and Jazz, easily the rarest and best work by one of Imperio Serrano's major figures.

Newly launching General Piglet present Demacrocy 7" is landing, and the company is gathering all the troops in order to denounce the whole babylon trickery!
For its first release, the general calls upon secret agent Blackout JA to drop a nuclear bomb over all minds, questioning if this thing that they call "democracy" is finally necessary On the flip is located the second shockwave, a secret weapon, carefully created in our bunker, somewhere in France. Limited to 500 copies only. No repress.

Count Bobo are a 6 piece group from Bristol playing in the style of early ska and rocksteady. Formed in 2012, they perform a selection of covers from artists like The Skatalites, Roland Alphonso and Jackie Mittoo, more recently including their own material.

They released their debut album 'Bird of Paradise' on limited edition 12 inch vinyl. The album was recorded by their producer Drezz at 'The Tape Rooms'. As a fully analogue studio, the band was able to record live and straight to tape in an attempt to emulate the records of their early influences.

They have since been gigging the UK festival, pub and club circuit including performances at Glastonbury, Green Man, Shambala, Secret Garden Party and Larmer Tree festival.

Count Bobo is-

Graeme Smith- lead vocals and alto sax
Dan Inzani- keyboards and vocals
Lorenzo Prati- tenor sax
Leon Boyden- guitar
Pete Gibbs- bass
Dan Truen- drums

New Paradise Bangkok imprint' 'Eastern Connection' takes its lead from the two mix cds of the same name : the label will explore the connections between the east African coast, the Arab peninsula, south east Asia and all the sounds and cultures traversing the Indian ocean. Limited to 500 copies
First up, in collaboration wi'i'h addis ababa based label sheba sound, comes this brand new recording of ethiopian music that has its roots in tradition but is also about the current sounds being made by local groups the length and breadth of the country.
Recorded in country and then mixed in london, this first single features vocalist Hanna Mekonnen and her band, who hail from the mersa tribe in the amhara region in the northern part of ethiopia.
With a tough bassline, punctuated by hand claps and kebero drums, hanna's vocal leads a hypnotic call and response underpinned by washint flute and the emblematic krar. Side b strips the track down to its basics, as collaborator nick manasseh works his dub magic to mesmerising effect. Anyone who caught Maft Sai & Chris Menist spinning on the Paradise Bangkok 2015 spring tour would have heard this being played out, as well as on nts and boiler room.

Calypso, Highlife, Juju & Apala: Popular Music And The Birth Of Independent Nigeria 1960-63

Soul Jazz Records' new Nigeria Freedom Sounds! features a stunning selection of material spotlighting the vibrant musical scene in Nigeria at the start of the 1960s. With a wealth of musical and cultural history and newly independent from Britain, Nigerian music during this era was complex, diverse and forward-thinking, with musicians as excited in exploring their country's own musical lineage with styles such as Juju and Apala as they were in adapting and absorbing outside influences such as Ghanaian Highlife, Caribbean Calypsos and Mambo and more.
This album features many of the defining artists of this time who helped shape the Nigerian musical scene. Artists include I.K. Dairo and his Blue Spots, Haruna Ishola and his Group, E.C. Arinze, Sammy Akpabot and His All Stars, Godwin Omobuwa and his Soundmakers, Ganiyu Kale and His Guinea Mambo Orchestra and many more.
Few nations on earth are as diverse as Nigeria, and the wide assortment of Nigerian music styles collected on this album reflect the country's rich variety of cultures. Western-influenced dance music, played on European instruments such as guitar, brass, and woodwind sits alongside traditional musical styles, made with indigenous instruments such as the talking drum, marimba, or obo. And there is also religious musical styles first brought to Nigeria by European Christians and Islamic traders from North Africa. And of course, there are points where these musical styles overlap, merging into one another to create unique new sounds.
This album is released in two formats, as CD and as heavyweight gatefold double vinyl edition. The CD includes a large outsize 48-page book containing extensive sleevenotes, original photography, artist biographies, as well as selection of Nigerian adverts celebrating its independence and original artwork from some of the rare original Nigerian 45s on which this music was first (and only ever) released. The heavyweight gatefold 2xLP comes with full sleevenotes and download code.

Trojan introduce a genre-themed vinyl album range aimed at satisfying the demands of Jamaican music fans of all persuasions - from hardcore collectors to casual buyers. Pressed on high quality vinyl and presented in handsomely designed sleeves that convey an authentic yet contemporary feel, each LP focuses on a specific style, ranging from vintage mento to modern dancehall, with the first three in the series highlighting the ever-popular sounds of ska, dub and classic reggae. Over the coming months every major genre will be highlighted on further equally compelling collections, ensuring fans of all Jamaican music styles are satisfied. Every album will be exhaustively promoted via Trojan's website, Facebook page, Twitter, YouTube channel and mailing list, with reviews actively solicited from all the major music periodicals and online sites. Since Jamaica's independence the island's music industry has blossomed from an almost insignificant local business into a hugely successful global concern. During these past five decades an array of Jamaican talent has graced charts the world over and this essential album features a dozen of the very best, including UK Number One hits from Desmond Dekker, Dave & Ansel Collins, Ken Boothe and Althea & Donna.

Die Geschichte der kongolesischen Band Konono N°1 reicht bis in die 1960er-Jahre zurück. Doch erst in diesem Jahrtausend erfuhr die breitere Öffentlichkeit mit der Veröffentlichung des Debütalbums "Congotronics" von der Existenz dieser faszinierenden Formation. Für Konono N°1 ist ein hypnotischer Sound charakteristisch, der auf elektrisch verstärkten Daumenklavieren einerseits und einer wilden RhythmusGruppe andererseits basiert, irgendwo zwischen Jimi Hendrix, Can, Lee "Scratch" Perry und den Einstürzenden Neubauten. Im Anschluss an "Congotronics" folgten Auftritte bei großen Rockfestivals, Projekte mit Björk und Herbie Hancock sowie 2008 eine Grammy-Nominierung für "Live At Couleur Café". Das Album "Meets Batida" basiert auf einer Zusammenarbeit mit dem angolanisch-portugiesischen Künstler Pedro Coquenão aka Batida. Die Aufnahmen fanden in Batidas Garagenstudio in Lissabon statt, produziert wurde es gemeinschaftlich von Vincent Kenis und Pedro Coquenão. Bei den Songs sind eine Reihe illustrer Gäste aus der Lissaboner Musikszene zu hören: Neben Papa Juju, Kopf der bekanntesten Afro-Fusion-Band der Stadt, und der afrikanischen Sängerin Selma Uamusse zum Beispiel auch der Slampoet, Künstler und Produzent MC AF Diaphra. Auf "Meets Batida" verbinden sich elektronische Beats mit organischen Grooves zu einer neuartigen, so bislang noch nie gehörten Form von Afro-Electro-Musik.










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Ocote Soul Sounds is Martin Perna, founder of the New York-based group Antibalas. together with Adrian Quesada, co-founder of the Grammy-winning Latin music powerhouse Grupo Fantasma. This 7" is their debut on Wonderwheel Recordings and features more of the same hazy, psychedelic Latin funk that they've become known for, featuring Chico Mann providing vocals on the "A" side, alongsided Quantic on guitar and accordian. Quantic is also featured on the "B" side instrumental cut "Not Yet"

Starting life as a small New York event aimed at raising awareness for Fela Kuti's musical message, Rich Medina's Jump N Funk party has now been rocking dancefloors across the globe for over 15 years. Honouring Fela's contribution to music as well as his political and cultural legacy, Medina has made his events a platform to celebrate Afro-Life across the Black Diaspora. With guests such as Wunmi, the cast of Fela! On Broadway, Asiko and
Antibalas providing captivating live performances, Jump N Funk is so much more than a club night. In creating this compilation to represent the spirit of his events, Rich Medina has chosen an eclectic selection of undeniably afro-tinged, unashamedly life-affirming music. With most tracks either referencing, sampling
or inspired by the great man, the record also includes material by Fela himself, as well as son Seun Kuti and long-time band member Tony Allen the inventor of the afrobeat set drum syncopation that is equally as notorious as Fela and his message... The album's artwork has been lovingly created by Lemi Ghariokwu, the fabled Nigerian artist who designed some of Fela's most iconic covers. From the record's sleeve to the music contained within, Jump N Funk is a cultural artefact with one foot in the past, the other in the future. An echo of Fela's message: a reminder to celebrate, to empower, to progress.

Some believe that the environment in which you make music - from the studio space, to the location itself - has a profound effect on the creative process. Immerse yourself in the world around you, the theory goes, and it will shape the music you make. Listen to Gorthleck, the third album from veteran downtempo alchemists Benjamin Smith and Paul 'Mudd' Murphy, and you can almost visualize the craggy, windswept and breathtakingly beautiful environment in which it was made. Reconvening after a near seven-year hiatus last summer, the duo headed up to the Scottish Highlands to spend a week recording in the surrounds of Gorthleck House, nestled on the shore of Loch Mhor in Inverness-shire. Earlier this year, they returned to the same venue, with its' stunning views of the tranquil loch and rocky, wooded hills rising in the distance, to complete the nine-track set. Certainly, the immersive environment and famously changeable weather seems to have inspired the longtime friends and studio partners. The album's epic centrepiece, the nine-minute Mhor', sounds like an emotional love letter to the body of water they strolled alongside every day. Its' undulating synthesizer line - reminiscent of classic Tangerine Dream and the Orb's A Huge Ever Growing Pulsating Brain' - mimics the slow ebb and flow of water across the loch, while Smith's shimmering guitar lines mimic the glint of sunlight reflecting off the surface. Elsewhere, the audio references are a little more subtle, but no less relevant. The hazy jazz guitars, twinkling pianos, rich grooves and fluttering clarinets of Nether' sound like the perfect accompaniment to a single malt whisky-fuelled sunset session at the water's edge, while the quietly foreboding aural textures, layered guitars and urgent electric violin of Enos' evoke memories of watching storm clouds gathering behind distant Highland mountains. The same could be said of Mr Coats' - a track arranged in steamy Mexico, and blessed with all the humidity you'd expect from such an excursion - while you can hear gale force winds whistling around the rafters on Dogwood'. As for Errogie', it's as bracing as a crystal clear morning in the Highlands, chilly, but hugely life affirming. The duo's previous two albums, 2007's Blue River and its' 2009 follow-up, Le Suivant, were both hugely evocative, but neither captured a distinct a sense of time and place quite like Gorthleck. Listen carefully, and you could almost be there with them, watching the sunrise and sunset.

Scotland's foremost (possibly only) disco obsessive returns with a fourth volume in the critically acclaimed Disco Love series. Previous volumes had critics saying things like Some of it is risqué, cheesy and (may I say) sexy. Great stuff for us disco-geeks' and A real gem for the disco connoisseurs' and This will enhance any deep disco collection' and the ever-reliable Glaswegian crate digger unearths even more dusty gems' and Just when you think that Al Kent guy is not going to get you again, he assembles a third Disco Love that is more stimulating than the first two volumes' and, less excitingly, The mastering and sound quality is great' So, just when you think that Al Kent guy isn't going to get you again, here he is - with fifteen more obscure disco tracks (or at the very least soul records you could dance to), most of which were pressed in limited quantities before sinking without trace, including five very special edited and extended versions and a DJ mixed second CD.

15 track Album from Mystic Revelation Of Rastafari released by Dub Store Records

12 track Album from Lynn Taitt & The Jets released by Dub Store Records

12 track Album from Lynn Taitt & The Jets released by Dub Store Records

Next up on Africa Seven is the second instalment of our series of Manu Dibango CD re-issues from the Fiesta label. Manu Dibango is probably the most famous musician from Cameroon and quite possibly one of the most internationally well-known African musicians ever. Manu Dibango is a most versatile musician, having played and recorded almost every style of music you care to mention - soul, reggae, jazz, spirituals, blues, African, electro.

Manu DiBango originally trained in classical piano, His musical career began in Brussels and Paris in the 1950. The 1960s finds him in Congo as a member of African Jazz led by Joseph Kabasele (Le Grand Kalle). He formed his own band in Cameroon in 1963, moving to Paris in 1965. His international breakthrough came in 1972 with international hit "Soul Makossa". This went on to be inspire the chant in Michael Jacksons "Wanna Be Startin Something" (and many others).

For the "Sun Explosion" album we are off to 1978, Paris. Six years after is international breakthrough with Soul Makossa, Manu is on a roll after scoring a couple of films the previous year Manu returns to the studio with long term collaborator and producer Rolande Le Couviour and Claude Achalle engineering to work on an artist album.

The albums four tracks, which are all lengthy, straddle a series of styles from the lazy, reaggae jazz of opener "Anty", to the more traditional "Manu" afro-funk-jazz sound of "Matumba". Remember its 1978 and Disco is in the air. Spin the record over to the B-side and you hear the sounds of the times have made their way into string epic, funky "Motapo" and the driving brass and funky xylophone on "Sun Explosion". A record that sounds surprisingly at home in todays current musical climate.

The Cuban singer Ibrahim Ferrer emerged as perhaps the most popular star of the Buena Vista Social Club ™ phenomenon. World Circuit is proud to announce the release of his final album 'Mi Sueño' (My Dream) the project he dreamed of realising all his life - an album devoted to the most meltingly romantic of all Cuban styles - the bolero.
'Mi Sueño' is an intimate arranged by Roberto Fonseca, the remarkable young pianist with whom he had developed a deep musical understanding. Recorded in Havana in 2004, the year before he died, with a wonderful small group that included Manuel Galbán on guitar and Cachaíto López on bass, the album is a very personal take on the bolero style - deeply traditional and at the same time startlingly modern. Full of passion and tenderness but still with an inimitable and irrepressible swing, Ibrahim sculpts familiar songs into fresh and atmospheric creations that are uniquely his own.
As Ibrahim said, I have just one thing left to tell you all. We dream together and we will keep doing it. If my days ended tomorrow I would leave very satisfied in having achieved my wish, the wish was that dream: to sing a bolero.'
A labour of love and the realisation of a dream, 'Mi Sueño' presents Ibrahim Ferrer as one of the world's great bolero singers - the way he always wanted to be remembered.

A funky collection of Bossa Nova, Samba and Brazilian Jazz, The Beat Of Brazil gathers 21 superb grooves recorded between 1961 and 1982, including classic tracks by Brazilian stars Elis Regina, Antonio Carlos Jobim, Gilberto Gil, Flora Purim and Airto Moreira, gems by the likes of Jon Hendricks, Herbie Mann and Louie Ramirez , as well as cult artists Banda Black Rio, Azymuth and Osmar Milito.






















[] 21. Flora Purim: Islands In The Sun (Interlude)