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viewing 1 To 10 of 21 items
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2LP
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AALP 071LP
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Deluxe gatefold double LP version. Lost sounds are the archives of a forgotten history. The raucously raw, Vodoun-inspired rhythms of Cotonou have confirmed Benin as a mecca of '70s Afro sounds and revived the story of its people, but the unopened vaults housing the country's catacombs of musical riches are endless. With this as a compass, Analog Africa charters its fifth expedition to Benin, traveling far north to delve deeper into the obscured repertoires and tales of the Bariba and Dendi people. Originating from the Kwara state of northwest Nigeria, the Bariba -- a predominantly Islamic people -- now dominate the Borgou department of Benin with the market city of Parakou at its heart. The rhythms of their culture constitute just one domain of the Islamic Funk Belt -- a distinct musical swath of land encompassing northern Ghana, Togo and Benin. Once frequented by Muslim merchants and traders, the belt has yielded a rich harvest of talent. The most powerful band from Parakou is Orchestre Super Borgou, who were first introduced to the West via Analog Africa's defining release, African Scream Contest (AACD 063CD/AALP 063LP). The birth of modern African music in Parakou is inextricably linked to Super Borgou. The progressive-minded father of the band's founder, Moussa Mama, imported modern music -- which he learned while working as a goldsmith in Accra, Ghana -- to the region in the '50s. His return to Borgou and subsequent teachings spawned countless bands from villages across the department. Super Borgou developed their own musical identity by reinventing traditional songs and rhythms. With Benin's foremost drummer, Bori Borro, in their ranks, Bariba and Dendi linguistic folklore -- alongside melodies of an Islamic ilk -- fused with soul, pachanga, breakbeats, rumba and Afro-Beat, Orchestre Super Borgou de Parakou manufactured a sound of penetrating and unpolished directness, blurring the line between the erstwhile rhythms of the devout village and the modern grooves infecting the forward-thinking city. Their reinvention redefines what contemporary audiences classify as the "Afro" genre. Performing live at the bar Congolaise, the high-octane live performances of Parakou's finest troupe also captured the imagination of Celestin Houenou Sezan, co-founder of Albarika Store (Benin's most important music label), and Super Borgou were, in fact, the legendary label's very first EP release. Apart from Albarika, Discadam -- and its sub-labels Impressions Sonores du Nord and Echos Sonores du Borgou -- were the band's major backers who helped galvanize the sound of northern Benin. Armed with a keen sense of philosophical observation, multi-instrumentalist Moussa Mama and rhythm guitarist Menou Roch, through their lyrics, reported on the socio-economic ills of their time -- the rampant inequalities they saw around them -- which established the band as noteworthy commentators on top of their gift of unique rhythm. Analog Africa's Orchestre Super Borgou anthology opens an entirely new chapter of lost and resurrected Afro sounds. Remastered to recreate the energy of their legendary live performances and accompanied by a stunning a full-color gatefold sleeve, the story of this remarkable ensemble and the traditions of the people of Northern Benin are set to be revealed and documented like never before.
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CD
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AACD 071CD
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Lost sounds are the archives of a forgotten history. The raucously raw, Vodoun-inspired rhythms of Cotonou have confirmed Benin as a mecca of '70s Afro sounds and revived the story of its people, but the unopened vaults housing the country's catacombs of musical riches are endless. With this as a compass, Analog Africa charters its fifth expedition to Benin, traveling far north to delve deeper into the obscured repertoires and tales of the Bariba and Dendi people. Originating from the Kwara state of northwest Nigeria, the Bariba -- a predominantly Islamic people -- now dominate the Borgou department of Benin with the market city of Parakou at its heart. The rhythms of their culture constitute just one domain of the Islamic Funk Belt -- a distinct musical swath of land encompassing northern Ghana, Togo and Benin. Once frequented by Muslim merchants and traders, the belt has yielded a rich harvest of talent. The most powerful band from Parakou is Orchestre Super Borgou, who were first introduced to the West via Analog Africa's defining release, African Scream Contest (AACD 063CD/AALP 063LP). The birth of modern African music in Parakou is inextricably linked to Super Borgou. The progressive-minded father of the band's founder, Moussa Mama, imported modern music -- which he learned while working as a goldsmith in Accra, Ghana -- to the region in the '50s. His return to Borgou and subsequent teachings spawned countless bands from villages across the department. Super Borgou developed their own musical identity by reinventing traditional songs and rhythms. With Benin's foremost drummer, Bori Borro, in their ranks, Bariba and Dendi linguistic folklore -- alongside melodies of an Islamic ilk -- fused with soul, pachanga, breakbeats, rumba and Afro-Beat, Orchestre Super Borgou de Parakou manufactured a sound of penetrating and unpolished directness, blurring the line between the erstwhile rhythms of the devout village and the modern grooves infecting the forward-thinking city. Their reinvention redefines what contemporary audiences classify as the "Afro" genre. Performing live at the bar Congolaise, the high-octane live performances of Parakou's finest troupe also captured the imagination of Celestin Houenou Sezan, co-founder of Albarika Store (Benin's most important music label), and Super Borgou were, in fact, the legendary label's very first EP release. Apart from Albarika, Discadam -- and its sub-labels Impressions Sonores du Nord and Echos Sonores du Borgou -- were the band's major backers who helped galvanize the sound of northern Benin. Armed with a keen sense of philosophical observation, multi-instrumentalist Moussa Mama and rhythm guitarist Menou Roch, through their lyrics, reported on the socio-economic ills of their time -- the rampant inequalities they saw around them -- which established the band as noteworthy commentators on top of their gift of unique rhythm. Analog Africa's Orchestre Super Borgou anthology opens an entirely new chapter of lost and resurrected Afro sounds. Remastered to recreate the energy of their legendary live performances and accompanied by a stunning 28-page full-color booklet, the story of this remarkable ensemble and the traditions of the people of Northern Benin are set to be revealed and documented like never before.
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2LP
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AALP 070LP
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Deluxe gatefold 2LP version. Subtitled: The Raw Sound Of Burkina Faso 1974-1979. For its commemorative 10th release, Analog Africa indulges in Burkina Faso, one of the jewels of the Sahel, a harsh and arid strip that straddles the southern Sahara, stretching from Dakar in the west to Djibouti in the east. Formerly known as Haute Volta, Burkina Faso's sound was organized and nurtured during the country's time as part of a vast patchwork making up French colonial West Africa. The rise of a post-independence urban middle class willing to invest in the Burkinabe arts spawned a cadre of singers, bands, orchestras and, most importantly, competitive record labels who all played their part in ushering in a golden age of music in their landlocked nation during the 1970s -- a decade marred by political instability in the country and an era of artistic enlightenment, empowering the whole of Africa. The Sahelian climate fortunately bore no influence on the Burkinabé sound, which is cosmopolitan as it was raw. West Africa was and continues to remain deeply interconnected. In search of better gigs, well-to-do producers and sufficient recording equipment, Burkinabe musicians ventured across the surrounding region, returning home with a wealth of knowledge of their neighbors' distinctive styles. The raw sound of Burkina Faso combined Afro-funk, traditional Islamic rhythms and subtle Afro-Latin sounds brought over by visiting Cuban ensembles. Mandingue melodies and guitar techniques from Mali and Guinea, however, were by far the most defining traits of a potent African mix that distinguished the Voltaic style between 1974 and 1979. Beginning with L'Harmonie Voltaique and Super Volta (both featured on this compilation), the pioneering orchestras from the capital Ouagadougou, several groups followed suit. Regional orchestras outside of the capital proudly boasted the contemporary sound through ensembles such as Echo Del Africa National and Volta Jazz, and exported much needed skilled musicians back to the capital. Record labels across Burkina Faso sprung up to capture the newly-born mystical and soulful sound taking over the country. Volta Discobel and Club Voltaique Du Disque (CVD) emerged in 1974 and competed for the modern music of their people. Despite its humble beginnings as a record shop, CVD came to dominate the industry. Both labels worked with the heavyweights of the time, such as the majestic Amadou Ballaké, a national icon who is featured extensively on this compilation. By the mid-'70s, Ouagadougou had become a hotbed for African music, filled with touring bands, gifted instrumentalists and hypnotic vocalists. Bamogo Jean Claube, the founder of Afro-Soul System, went from being a "musician's tailor" to a celebrated singer. Ballaké himself jumped from job to job before being recognized for his graceful voice. While it might be Analog Africa's venture into possibly the most obscure of African sounds thus far, the sounds of the golden age of Burkinabé music deserve to be heard and the varying styles that came to define the era are completely covered on this 16-track release.
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CD
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AACD 070CD
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Subtitled: The Raw Sound Of Burkina Faso 1974-1979. For its commemorative 10th release, Analog Africa indulges in Burkina Faso, one of the jewels of the Sahel, a harsh and arid strip that straddles the southern Sahara, stretching from Dakar in the west to Djibouti in the east. Formerly known as Haute Volta, Burkina Faso's sound was organized and nurtured during the country's time as part of a vast patchwork making up French colonial West Africa. The rise of a post-independence urban middle class willing to invest in the Burkinabe arts spawned a cadre of singers, bands, orchestras and, most importantly, competitive record labels who all played their part in ushering in a golden age of music in their landlocked nation during the 1970s -- a decade marred by political instability in the country and an era of artistic enlightenment, empowering the whole of Africa. The Sahelian climate fortunately bore no influence on the Burkinabé sound, which is cosmopolitan as it was raw. West Africa was and continues to remain deeply interconnected. In search of better gigs, well-to-do producers and sufficient recording equipment, Burkinabe musicians ventured across the surrounding region, returning home with a wealth of knowledge of their neighbors' distinctive styles. The raw sound of Burkina Faso combined Afro-funk, traditional Islamic rhythms and subtle Afro-Latin sounds brought over by visiting Cuban ensembles. Mandingue melodies and guitar techniques from Mali and Guinea, however, were by far the most defining traits of a potent African mix that distinguished the Voltaic style between 1974 and 1979. Beginning with L'Harmonie Voltaique and Super Volta (both featured on this compilation), the pioneering orchestras from the capital Ouagadougou, several groups followed suit. Regional orchestras outside of the capital proudly boasted the contemporary sound through ensembles such as Echo Del Africa National and Volta Jazz, and exported much needed skilled musicians back to the capital. Record labels across Burkina Faso sprung up to capture the newly-born mystical and soulful sound taking over the country. Volta Discobel and Club Voltaique Du Disque (CVD) emerged in 1974 and competed for the modern music of their people. Despite its humble beginnings as a record shop, CVD came to dominate the industry. Both labels worked with the heavyweights of the time, such as the majestic Amadou Ballaké, a national icon who is featured extensively on this compilation. By the mid-'70s, Ouagadougou had become a hotbed for African music, filled with touring bands, gifted instrumentalists and hypnotic vocalists. Bamogo Jean Claube, the founder of Afro-Soul System, went from being a "musician's tailor" to a celebrated singer. Ballaké himself jumped from job to job before being recognized for his graceful voice. While it might be Analog Africa's venture into possibly the most obscure of African sounds thus far, the sounds of the golden age of Burkinabé music deserve to be heard and the varying styles that came to define the era are completely covered on this 16-track release.
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CD
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AACDDE 001CD
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Nestled in between Nigeria and Ghana, the traditional heavyweights of the golden West African musical axis, Benin, formerly known as Dahomey, has birthed some of the most raw and psychedelic Afro sounds to emerge from a continent blessed with artistic talent. From Lome to Luanda, Africa's coastal cities have constantly served as creative hubs and Benin's economic capital, Cotonou, is no exception. The former French trading post has spawned several bands and performers, the most indefatigable and prolific of which undoubtedly remains Orchestre Poly-Rythmo. Extensively featured on Analog Africa's previous releases, Poly-Rythmo and its legendary members constitute arguably Africa's most innovative band. By building upon and modernizing the traditional rhythms of Vodoun, conforming to the Afrobeat sound of the time, incorporating Western styles and injecting a healthy Latin dose, Orchestre Poly-Rythmo fostered a diverse groove that remained unique to Benin and resonated with the region's urban centers. Despite consisting of 16 members at its peak, the band was originally founded as Orchestre Poly-Disco in 1968 with original members Melome Clement, Bentho Gustave, Amenoudji Vicky Joseph and Bernard "Papillon" Zoundegnon. Seeking to expand and in search of a soul singer, Bentho and Papillon persuasively lured a certain Vincent Ahehehinnou from Daho Jazz, a band with little prospect of major success that often performed in seedy venues. Due to changes in producers and financiers, Orchestre Poly-Disco switched its name to Orchestre El Ritmo before finally establishing themselves as Orchestre Poly-Rythmo de Cotonou after signing with Adissa Seidou, the owner of the Albarika Store label, in 1969. Influenced heavily by Fela Kuti, Vincent, who by this time had transformed himself into an Afrobeat and funk specialist, perhaps Benin's best, soon became a supremely influential member of Poly-Rythmo and was approached by Albarika to record a 7" single. Realizing the band's preeminence on the African music stage, Vincent believed the time was ripe to follow in the footsteps of African music greats and record a full album instead. A deal was subsequently struck with the label for a production fee of 320.000 CFA -- about 500 euros given today's exchange rates. The band took advantage of their producer's cross-border contacts and traveled from Cotonou to Lagos, which possessed better-equipped studio facilities, to record their first LP consisting of four heavy Afrobeat tracks, wholly composed by Vincent Ahehehinnou himself, in 1973. In fact, the four track LP was recorded twice. Albarika rejected the first recording because of far too much background noise -- the possible culprit being an obnoxious organ amplifier -- forcing another recording to be done. The second recorded session met expectations and made it as the official vinyl release. That recording remains not only one of Benin's rarest LPs but one of its best works of music, setting the standard for all future Poly-Rythmo releases and firmly cementing the band and Vincent's reputation. The test-pressing of the rejected first recording was found and Analog Africa founder, Samy Ben Redjeb, chose two tracks from each recording. The two remastered tracks from the rejected recording are now exclusively released for the very first time.
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LP
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AALPDE 001LP
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$21.00
NOT IN STOCK, SPECIAL ORDER
LP version. Nestled in between Nigeria and Ghana, the traditional heavyweights of the golden West African musical axis, Benin, formerly known as Dahomey, has birthed some of the most raw and psychedelic Afro sounds to emerge from a continent blessed with artistic talent. From Lome to Luanda, Africa's coastal cities have constantly served as creative hubs and Benin's economic capital, Cotonou, is no exception. The former French trading post has spawned several bands and performers, the most indefatigable and prolific of which undoubtedly remains Orchestre Poly-Rythmo. Extensively featured on Analog Africa's previous releases, Poly-Rythmo and its legendary members constitute arguably Africa's most innovative band. By building upon and modernizing the traditional rhythms of Vodoun, conforming to the Afrobeat sound of the time, incorporating Western styles and injecting a healthy Latin dose, Orchestre Poly-Rythmo fostered a diverse groove that remained unique to Benin and resonated with the region's urban centers. Despite consisting of 16 members at its peak, the band was originally founded as Orchestre Poly-Disco in 1968 with original members Melome Clement, Bentho Gustave, Amenoudji Vicky Joseph and Bernard "Papillon" Zoundegnon. Seeking to expand and in search of a soul singer, Bentho and Papillon persuasively lured a certain Vincent Ahehehinnou from Daho Jazz, a band with little prospect of major success that often performed in seedy venues. Due to changes in producers and financiers, Orchestre Poly-Disco switched its name to Orchestre El Ritmo before finally establishing themselves as Orchestre Poly-Rythmo de Cotonou after signing with Adissa Seidou, the owner of the Albarika Store label, in 1969. Influenced heavily by Fela Kuti, Vincent, who by this time had transformed himself into an Afrobeat and funk specialist, perhaps Benin's best, soon became a supremely influential member of Poly-Rythmo and was approached by Albarika to record a 7" single. Realizing the band's preeminence on the African music stage, Vincent believed the time was ripe to follow in the footsteps of African music greats and record a full album instead. A deal was subsequently struck with the label for a production fee of 320.000 CFA -- about 500 euros given today's exchange rates. The band took advantage of their producer's cross-border contacts and traveled from Cotonou to Lagos, which possessed better-equipped studio facilities, to record their first LP consisting of four heavy Afrobeat tracks, wholly composed by Vincent Ahehehinnou himself, in 1973. In fact, the four track LP was recorded twice. Albarika rejected the first recording because of far too much background noise -- the possible culprit being an obnoxious organ amplifier -- forcing another recording to be done. The second recorded session met expectations and made it as the official vinyl release. That recording remains not only one of Benin's rarest LPs but one of its best works of music, setting the standard for all future Poly-Rythmo releases and firmly cementing the band and Vincent's reputation. The test-pressing of the rejected first recording was found and Analog Africa founder, Samy Ben Redjeb, chose two tracks from each recording. The two remastered tracks from the rejected recording are now exclusively released for the very first time.
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CD
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AACDDE 002CD
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Rob "Roy" Raindorf, born on the 13th of May 1949 in Accra, is definitely one of the most enigmatic artists to come out of Ghana. He appeared out of nowhere with a unique and twisted sound. An admirer of American artists Otis Redding, James Brown, Wilson Pickett and Ray Charles, Rob began his trade by learning the piano at a music school in Cotonou, Benin. When his education ended, he ventured out to make what money he could by getting gigs with the movers and shakers of the Beninese music scene, namely Orchestre Poly-Rythmo as well as the Black Santiagos. Absorbing and learning the intricacies of music composition, Rob returned to Ghana where he began to write his own songs and eventually sought the backing of a band, specifically one which possessed horns. In 1977, a young Rob travelled to the city of Takoradi in western Ghana to approach an army band named Mag-2 whom he had seen perform in Accra. Mag-2 had an entire section of its ensemble dedicated to horns and some of the most sophisticated music equipment available in Ghana at the time -- Hofner guitars, Yamaha keyboards and the like. Belonging to the "magnificient" second battalion of the Takoradi-based army unit, original founder Amponsah Rockson decided to aptly-name the band "Mag-2." Mag-2 was essentially filled with the best elements of The Parrots, a highlife band in which Amponsah was the lead guitarist. Their primary task was to entertain soldiers and with the army tour bus, perform from town to town as well as in reputable venues in the capital. Enticed by the style of music Rob had proposed, Mag-2 backed the Ghanaian sensation on two of his most astonishing records -- his first and second albums -- Funky Rob Way and Make It Fast, Make It Slow, both of which were recorded at Essiebons studios in Accra. Despite Rob's training and musical education, Amponsah was responsible for the vast majority of the compositions, such as building the chord progression and arranging the horns that Rob craved. Rob would even wait for the Mag-2 maestro's cue to begin singing. Despite early successes, a once-unflinching interest in Afrobeat began to wane by the early 1980s and disco boogie rapidly became the vogue style around which label owners and music producers sought to capitalize upon. The style Rob had shaped his career around was in decline and an adequate income consequently became a major concern, forcing him to travel to Hamburg, Germany in search of a financial backer.
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LP
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AALPDE 002LP
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$21.00
NOT IN STOCK, SPECIAL ORDER
LP version. Rob "Roy" Raindorf, born on the 13th of May 1949 in Accra, is definitely one of the most enigmatic artists to come out of Ghana. He appeared out of nowhere with a unique and twisted sound. An admirer of American artists Otis Redding, James Brown, Wilson Pickett and Ray Charles, Rob began his trade by learning the piano at a music school in Cotonou, Benin. When his education ended, he ventured out to make what money he could by getting gigs with the movers and shakers of the Beninese music scene, namely Orchestre Poly-Rythmo as well as the Black Santiagos. Absorbing and learning the intricacies of music composition, Rob returned to Ghana where he began to write his own songs and eventually sought the backing of a band, specifically one which possessed horns. In 1977, a young Rob travelled to the city of Takoradi in western Ghana to approach an army band named Mag-2 whom he had seen perform in Accra. Mag-2 had an entire section of its ensemble dedicated to horns and some of the most sophisticated music equipment available in Ghana at the time -- Hofner guitars, Yamaha keyboards and the like. Belonging to the "magnificient" second battalion of the Takoradi-based army unit, original founder Amponsah Rockson decided to aptly-name the band "Mag-2." Mag-2 was essentially filled with the best elements of The Parrots, a highlife band in which Amponsah was the lead guitarist. Their primary task was to entertain soldiers and with the army tour bus, perform from town to town as well as in reputable venues in the capital. Enticed by the style of music Rob had proposed, Mag-2 backed the Ghanaian sensation on two of his most astonishing records -- his first and second albums -- Funky Rob Way and Make It Fast, Make It Slow, both of which were recorded at Essiebons studios in Accra. Despite Rob's training and musical education, Amponsah was responsible for the vast majority of the compositions, such as building the chord progression and arranging the horns that Rob craved. Rob would even wait for the Mag-2 maestro's cue to begin singing. Despite early successes, a once-unflinching interest in Afrobeat began to wane by the early 1980s and disco boogie rapidly became the vogue style around which label owners and music producers sought to capitalize upon. The style Rob had shaped his career around was in decline and an adequate income consequently became a major concern, forcing him to travel to Hamburg, Germany in search of a financial backer.
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2LP
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AALP 069LP
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Double vinyl version, in deluxe gatefold sleeve and printed inner sleeves which replicate all of the liner notes from the CD version booklet. Subtitled: The Unique Sound Of Luanda 1968-1976. The nascent Angolan music scene was set on fire by a small group of intrepid singers, backed by an array of super-tight bands and led by extraordinary guitarists who revolutionized the musical and the political panorama of the '60s and '70s. A powerful confluence of traditional rhythms from Luanda's islands, psychedelic guitar sounds imported from neighboring Congo, Latin grooves, old school Caribbean merengue and the hard beat of the Angolan carnival bands conspired to create the modern music of Angola. These sounds were immortalized by two excellent recording companies -- Fadiang (Fábrica De Discos Angolano) and Valentim de Carvalho. The great electric bands of Angola were a well-kept secret until the late '90s when France-based music label Buda Musique released a short-lived series of Angolan music compiled by Ariel de Bigault. Inspired and taken aback, the releases proved to be a pivotal juncture for Analog Africa's founder Samy Ben Redjeb. From the nine Analog Africa releases thus far, Angola Soundtrack has been the most difficult to create. The travel visa was in itself a struggle and logistically and financially, Luanda is a nightmare. After two unsuccessful years, Samy eventually found shelter at a home in Prenda, a musseque (township) outside of the capital. With the support of Zé Keno, the legendary guitarist of Jovens Do Prenda, he managed to meet most of the composers of the tunes presented here. The anecdotes they provided are numerous. Boto Trindade, guitarist of Os Bongos, abandoned his dream of becoming a football player to support his brother's family by earning money as a musician. A very young Zé Keno went to see his favorite guitarist Marito performing with Os Kiezos and consequently built a three-stringed guitar only to become one of the most sought-after guitarists in the country a mere few years later. Angolan music is truly unique and stands on its own as a sound that can only be found in that part of the world. Rhythms such rebita, kazucuta, semba and merengue, all of which are presented in this latest compilation, might be unfamiliar, but they are superbly melodic, highly danceable, hypnotic, raw and quintessentially beautiful and totally addictive.
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CD
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AACD 069CD
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Subtitled: The Unique Sound Of Luanda 1968-1976. The nascent Angolan music scene was set on fire by a small group of intrepid singers, backed by an array of super-tight bands and led by extraordinary guitarists who revolutionized the musical and the political panorama of the '60s and '70s. A powerful confluence of traditional rhythms from Luanda's islands, psychedelic guitar sounds imported from neighboring Congo, Latin grooves, old school Caribbean merengue and the hard beat of the Angolan carnival bands conspired to create the modern music of Angola. These sounds were immortalized by two excellent recording companies -- Fadiang (Fábrica De Discos Angolano) and Valentim de Carvalho. The great electric bands of Angola were a well-kept secret until the late '90s when France-based music label Buda Musique released a short-lived series of Angolan music compiled by Ariel de Bigault. Inspired and taken aback, the releases proved to be a pivotal juncture for Analog Africa's founder Samy Ben Redjeb. From the nine Analog Africa releases thus far, Angola Soundtrack has been the most difficult to create. The travel visa was in itself a struggle and logistically and financially, Luanda is a nightmare. After two unsuccessful years, Samy eventually found shelter at a home in Prenda, a musseque (township) outside of the capital. With the support of Zé Keno, the legendary guitarist of Jovens Do Prenda, he managed to meet most of the composers of the tunes presented here. The anecdotes they provided are numerous. Boto Trindade, guitarist of Os Bongos, abandoned his dream of becoming a football player to support his brother's family by earning money as a musician. A very young Zé Keno went to see his favorite guitarist Marito performing with Os Kiezos and consequently built a three-stringed guitar only to become one of the most sought-after guitarists in the country a mere few years later. Those are just an appetizing dose of the anecdotes presented in the 44-page booklet that comes with this compilation. Angolan music is truly unique and stands on its own as a sound that can only be found in that part of the world. Rhythms such rebita, kazucuta, semba and merengue, all of which are presented in this latest compilation, might be unfamiliar, but they are superbly melodic, highly danceable, hypnotic, raw and quintessentially beautiful and totally addictive.
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