Toró Instrumental - Dunas (Live)

The enigmatic Amara Touré from Guinée Conakry finally getting a well deserved compilation showcasing all of the 10 songs ever released between 1973 and 1980. Cuban influenced music of a different kind featuring amazing spaced-out guitar works!! Stay tuned for some of the most beautiful music ever recorded !! Release Date: Last week of May!

Lamento Cubano - Amara Touré

Mbongwana Star are a newly formed band from Kinshasa, Congo, tired of the pre-conceptions around African music. Fusing traditional Congolese rhythms with post punk and electronics, their sound is full of energy and utterly original. 

Mbongwana Star - Shégué (Worldwide Premiere)

June 23rd marks the arrival of the long-awaited proper reissue of Amara Toure’s groundbreaking Afro-latin studio works captured between 1973 and 1980. Analog Africa has prepared a special gatefold double LP version on 140g vinyl, encompassing the three singles he recorded under the Black and White ensemble between 1973 and 1976 along with the highly coveted Orchestre Massako group’s stunning 1980 LP Accompagné Par L’Orchestre Massako. This is the entire known works of the mystic composer and it is stated in the press that after he recorded Accompagné Par L’Orchestre Massako, he would never been seen again and his whereabouts are unknown to this day. Breaking ground out of the rich legacy and musician development system Dakar, Senegal, producer Ibra Kasseì created, the origins of Ibra’s movement begins in the late ’50s when fusion music around the world was beginning to stretch outside of sketch forms. Cuban styles of son montuno and patchanga were infused with local folk traditions and modern instrumentation of each successive generation, producing a hybrid of West African and Caribbean music that is intoxicating and hypnotic in every rhythm, harmony and overtone. Senegal was buzzing with new creativity through the ’60s and beyond, met with an array of highly advanced musicians and visionaries. Nightlife music for those that wanted something beyond the radio hits and presented with a passionate essence that connected many people in the region of the time.

Amara Toure was brought up in a progressive movement unlike any other and by the time he was able to head his own groups and record his own content from the experience he gained networking with Ibra Kassei, African music had finally hit a global scale. When you open up the lid on the musicians who never made it outside of the regions known for strong music activity, an overwhelming list of artists come up and there is no question that Amara Toure ranks amongst the top of these creators. Originally from Guinea-Conakry, Amara Toure remained underground and raw during his tenure producing records, creating some of the most earth-shattering grooves and harmonies from any West African artist ever. To have his works in one album from the exceptional team at Analog Africa is a dream come true, updating pre-existing copies of originals that run in the triple digit numbers amongst hardcore collectors and doing a great job at preserving the analog warmth of the originals. The singles material was recorded in Cameroon while the 1980 content was done in Libreville, Gabon. Absolutely breathtaking guitar, percussion and horn heavy music that is timeless without question. For the vinyl junkies, this one has been pressed on deluxe gatefold double LP as a 140-gram vinyl and is presented in four-color screenprinted covers and also comes with a screenprinted poster. Limited edition to 1,500 copies, so order now if you want to secure a vinyl copy as these will surely run out quickly. Analog Africa does various reprints on back catalog titles out of print but these are never announced ahead of time. One can only hope they will run multiple campaigns for these prints as this music is too good for words.

Get it HERE

Salamouti  - Amara Touré et l´Orchestre Massako

1973 afro-cuban sounds from enigmatic Guinean percussionist/singer Amara Touré on Frankfurt-based label Analog Africa.

Read more: http://www.stampthewax.com/2015/06/30/premiere-amara-toure-temedy/

Follow:
@analog-africa

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Premiere: Amara Touré - Temedy

Teranga Beat’s aim since the beginning of the label is to release lost and unreleased recordings of both famous groups and formerly unknown artists of West Africa. While going through several archives of the region, what thrilled me the most was the feeling of unexpected, especially when I stumbled upon a terrific recording from a totally unknown group. Discovering music that nobody has ever listened to before. I guess it has something to do with the psychology of the collector, always searching for that record nobody has. 

My favourite discovery up to date is the Dieuf-Dieul de Thiès, a band that did not manage to release any of its recordings. I had previously heard their name in Thiès, but to my ears it sounded like an urban legend. People involved in music would rate it as the best group in the city, but nobody had ever seen a record from them, let alone a cassette. I thought it was one of these stories of gross exaggeration, so common in West Africa. However, when I fell upon their recordings and listened to them I realised it was all true.

In 2013 Teranga Beat released the first volume of Dieuf-Dieul's recordings. Today, on this vol. 2 album we proudly present the rest of their recorded tracks. On Vol.1 the tracks were well divided among three singers: Assane Camara with his unique style, an  Afro-Manding hybrid, which he acquired through years of performing in the South region of Senegal, but also by virtue of being a Sosseh (that is, of Gambian origin) himself; the great Griot Gora Mbaye with his strong voice and deep wolof lyrics, displaying his strong links to the tradition of the country; and finally, the then young and talented Bassirou Sarr with his great singing skills. 

Five out of seven overall tracks of Volume 2 feature Bassirou Sarr, a truly exceptional singer. Whether in a ballad or some explosive Mbalax, Bassirou's voice is always full of emotion. But if I had to pick out one song, that would definitely be "Raki". When Bassirou got the chance to finally listen to the song (30 years after its initial recording!), he told me the following story: one night, while performing singing "Raki" in Kolda, he noticed a man weeping right in front of the stage. Suddenly, the man turned to Bassirou and said: "Now listen here, you're not going nowhere! You're staying here and play this song all night long!". 

One of the two remaining tunes, "Rumba Para Parejas", is a great latin cover sung by Assane Camara (Camou Yande). Although in his interview Bassirou admitted that Latin music was not their strong point, this track shows how good performers Dieuf-Dieul actually were. Besides, it is somehow ironic that, after the band broke up, all of its members gradually became Salsa musicians.

Having said all that, I am delighted to announce that Dieuf-Dieul are back together after 32 years, preparing for their first international tour! I sincerely hope this record will contribute to the international recognition Dieuf-Dieul fully deserve.

DIEUF - DIEUL de Thiès - Nianky (Short Edit Version)

Old-ish (2008) Sofrito Soundsystem dubplate intro - Afro-Colombian beats with Cuban singer and percussionist Rene Alvarez (Sur Caribe) with some Latin freestyle...

Sofrito Dubplate intro feat. Rene Alvarez (2008)

Orchestre Negros Star De Dakar has to be one of the most well kept secrets in the world of Afro-Cuban music. Basically no information is available of this Senegalese/Ivorian group and not a single track has been available online before. All their now absolutely scarce 7" records were made in Ivory Coast and the group backed talents like Papa Seck and Charly-Charly.

This mix is combination of two EP's released in Ivorian label Safie Deen in late 1960's to early 1970's and they are both straight Afro-Cuban magic. The recent interest in Afro-Cuban music in general and the likes of Amara Toure, Orchestre Baobab and Super Star De Dakar has brought this music to new audiences and I have been amazed that this group has remained practically hidden for this long. Enjoy and comment/share if you like what you hear.

Tracklist:

Charly-Charly & Les Negros Star De Dakar - S.C. Carlos
Orchestre Negros Star De Dakar - El Manisero
Orchestre Negros Star De Dakar - Yo Say Sonero
Charly-Charly & Les Negros Star De Dakar - Quitale Et Chaqueton
Charly-Charly & Les Negros Star De Dakar - Vive L'OCAMM
Orchestre Negros Star De Dakar - Super Carretero

"Super Carretero" - Afro-Cuban Magic Of Negros Star De Dakar

B2 Lindigo - Tany Be (Alma Negra Dub)

Taken from the Black savage Linernotes written by Emmanuel Mwendwa  :
 
Equally notable is Sharpeville – its melancholic overtones seem to complement haunting guitar chords and a mournful bassline. The late-1970s recording could likely have been triggered by the bloody 1976 Soweto Uprising. 

The lyrics are distinct, and stand out as a socio-politico commentary on the morally illegal State of Emergency enforced by an inhuman, repressive South African apartheid regime then in power. 

“..sharpeville massacre.. open your eyes.. see the people dying.. / victims of evil.. hopeless and helpless.. see the injustice.. / open your ears.. hear the screaming.. their cries.. no protection from injustice.. / don’t you realize that it’s about time.. that we solve the situation..” sings Jack Otieno. 

Undoubtedly, the song brings to the fore, band’s spirit of activism and served as a reminder for sad memories of indiscriminate 1960 Sharpeville killings. At least 69 peaceful demonstrators were shot dead, innocent lives lost and hundreds injured.  

Despite the pain suffered by victims, the protests triggered sustained anti-government campaigns driven by black Africans fighting in the struggle against tyrannical segregation

Black Savage is out 13.06.18, follow the buy link to pre-order your copy now!

Black Savage

Black Savage 'Sharpeville' 1975 Afro7 Records

Romperayo is a musical journey through Colombian tropical folklore of the second half of the 20th century, a mischievous and modern interpretation of the up-tempo rhythms of Descarga , Guaracha , Afrobeat and the psychedelic sounds of 70s Cumbia .
Led by drummer Pedro Ojeda , the “capitán” of the new generation of Colombian percussionists who also plays in Frente Cumbiero, Ondatrópica , Los Pirañas, Chúpame El Dedo and Mucho Indio, Romperayo’s novel approach to tropical rhythms has conquered the international live scene with 3 European tours in 2017, 2018 and 2019. The band has released 4 albums and 3 singles to date, on 5 different labels from the UK, the US, Japan and France.
By cleverly incorporating urban sounds and sampling techniques into Colombian music of the past decades, Romperayo embodies the avant-garde of the country’s modern music scene.

Credits:
All tracks produced by Pedro Ojeda.
Saxophone on "Cumbia Reggae Funky": Marco Fajardo (Frente Cumbiero, La BOA)
Elements or artwork by Urm Le Fou, Nuino Visual.
Mastered at The Exchange Vinyl, London, UK.
Lacquers-cut by Simon Davey

Pre order : 
› https://romperayo.bandcamp.com/album/tacutun-cumbia-reggae-funky

Diffusé le 20 mai 2020.
Broadcasted on May 20th 2020.

Romperayo
› http://romperayo.com/
› https://www.facebook.com/ROMPERAYO/
› https://twitter.com/ROMPERAYOMUSICA
› https://www.youtube.com/channel/UCOOCmdxi4svdMpqiJiyhgCA
› https://romperayo.bandcamp.com/

Galletas Calientes Rec.
› http://www.gcrecords.net/
› https://www.facebook.com/GalletasCalientesRecords
› https://www.instagram.com/galletas.calientes/
› https://twitter.com/GalletasRecords
› https://soundcloud.com/galletascalientesrecords
› https://www.youtube.com/user/GalletasCalientesRec/

Black Savage 'Sharpeville' 1975 Afro7 Records

afro7.net

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