Analog Africa No.15 – ANGOLA SOUNDTRACK 2
*Hypnosis, Distortions & Other Sonic Innovations 1969-1978*
Catalogue No. AACD 075 (1xCD)/AALP 075 (2xLP)
CD with 44-Page Booklet / LP with 16-Page LP Size Booklet

In 2010, against all odds, Angola Soundtrack Vol.1 was awarded the German Record Critics’ Prize in the category "Black music". This victory was all the sweeter for its triumph over the predicted winner, Aloe Blacc´s multi platinium record, "Good Things".

Many were surprised that the award was handed to a compilation that covered obscure music, but it didn’t surprise the team behind Analog Africa who believed such award should have come much earlier.

Since discovering the music of Angola 15 years ago, styles such Kazucuta, Rebita and Semba have become an addiction for Samy Ben Redjeb, the compiler, who proclaimed a serious warning in the first edition liner notes:

"Listening to these tracks may cause addiction and provoke heavy rotation!"

The unique blend of incomparable musicianship, passionate delivery and regional rhythms that make these tracks so combustible are no accident. An exceptional set of circumstances existed in the history of Angola before Independence that created the giant leap in the style and standard of bands and recordings of the time.

When Portuguese repressive measures prevented the small Turmas, street musician groups, from being able to perform in Carnaval celebrations in 1961, a Portuguese civil servant, entrepreneur and Angolan music fan named Luis Montês was already in a position to capitalise on Luanda’s need for a live music scene. His self-designed “Kutonocas”, Sunday afternoon live music festivals, delighted a Luandan population hungry for a communication between the city and musseques (townships). It also forced groups to adapt to a different style of playing that would accommodate large stages and broader audiences. They equipped themselves with electric guitars, and fed on the musical influences from Cape Verde, Congo and the Dominican Republic, while staying patriotically true to their own musical legacy and unique rhythms.

The intimacy of those participating in this musical revolution meant they playfully and professionally wanted to trump each other’s style; communication between the groups was frequent as everyone studied each other’s records and concerts and players were under a lot of pressure to outdo each other due to the limited recording and performing opportunities. Development of skill and ingenuity was a must, as well as addressing the highly politicised climate. The optimism of Independence can be heard in these recordings; a common goal between the audience and musicians.

Upon reading the characteristically generous liner notes of this new Analog Africa release, you will be given more hints of the crucial melting pot that allowed this short period to have such an outstanding productivity. Featuring 44 pages acquired in coordination with the National Library of Luanda and the art magazine “Note E Dia”, Analog Africa head honcho Samy Ben Redjeb has managed to collect newspaper clips, extremely rare pictures of the bands on stage and printed interviews from the 70s.

The stunning pages of passionate photography and artistic design also include interviews with many of the original artists and their families, biographies of the three labels that made it all possible, and of Luis Montês, who was the pulse of the live music scene in Luanda.

This compilation represents the best of the short lived recording industry in Angola, a brief moment of history between 1969 and 1978, when three recording companies produced approximately 800 limited records, mostly singles. They are rare jewels, each song with a significant story and feel behind it. You will hear exciting music blazed with the anticipation of emancipation, tracks fuelled with a sense of unity, community, importance and immediacy.

This addictive, outlawed music from Angola shakes and grooves with the smoothness of staccato machine gun fire. Do yourself a favor and submerge yourself into some of the most the addictive music created by mankind!

FATIMITA - Urbano de Castro

Gnonnas Pedro & His Dadjes Band - La Musica En Vérité

For their next release, @sofrito take us to the Côte D'Ivoire with a deep hybrid of soukous and highlife, recorded in Abidjan in 1975 by the mysterious Bazaré D. Pablo. Thumping percussion, generous shakers, intricate guitar, ethereal vocals and a solid bassline add up to a frenetic and energetic hip-shaker. 

Watch on YouTube: http://bit.ly/gpww-sofrito
More info: http://www.gillespetersonworldwide.com/gpww-premiere-bazare-d-pablo-et-orchestre-nassima/
Buy Ivoire Promotion EP: http://shop.sofrito.co.uk/product/super-single-ivoire-promotion-ep



Listen on Youtube

Bazaré D. Pablo et Orchestre - Nassima (Worldwide Premiere)

https://analogafrica.bandcamp.com/album/legend-of-funana-the-forbidden-music-of-the-cape-verde-islands

It is 1997. A quiet, unassuming man of 59 years old named Victor Tavares - better know as Bitori - walks into a recording studio for the first time. The result is a musical masterpiece - a recording which many consider to be the best Funaná album ever made.

Bitori´s musical adventure had begun long before this point. It was 1954 when he embarked on a journey across the seas to the island of Sao Tomé & Principe. The young man´s hope was to return to Cabo Verde with an accordion. 

Following two years of hard labour Bitori had succeeded in saving enough money to acquire what was to become his most valued possession, his cherished instrument. The two month journey back to Santiago, his island of birth, proved time enough to master it.

Self taught, Bitori developed his own style, an infectious blaze, that quickly caught the attention of the older generation. Before long Bitori was being asked to share his musical talents, igniting the local festivities around Praia with his music.

But not everybody welcomed the rural accordion-based sound. Perceived as a symbol of the struggle for Cape Verdean independence and frowned upon as music of uneducated peasants, Funaná was prohibited by the Portuguese colonial rulers. Performing it in public or in urban centres had serious consequences - often jail time and torture awaited musicians that were “caught in the act”. In light of such persecution the genre of Funaná began to slowly disappear.

In 1975 Cabo Verde achieved independence from Portuguese colonial rule. Along with Cabo Verde’s independence came a lifting of the ban placed on Funaná. The musical repercussions in Cabo Verde were plenty - many upcoming artists embraced Funaná, translating and adapting its musical form in new ways. It was not to be until the mid-1990’s, however, that Funaná in its traditional form was actually recorded.

It was a young singer from Tarafal, Chando Graciosa, who was to play a key role in this event. Upon hearing Bitori, Graciosa immediately felt drawn to Bitori's unique playing style - a raw and passionate sound accompanied by honest lyrics that reflected the harsh reality of the Cabo Verdean working class. He eagerly approached Bitori suggesting they join forces and travel overseas with the objective of taking Funaná beyond its rural roots.

The two of them, with others in tow, achieved their goal and travelled to Europe, introducing a receptive European audience to the vibrant energy of Funaná. Eventually Bitori returned to his beloved Cabo Verde. Graciosa opted to settle in Rotterdam in order to pursue his career - he vowed, however, to bring Bitori across to Holland at a later date to record an album.

In 1997 the time was ripe to immortalise the sound Bitori had shaped over a time span of four decades. Built around a formidable rhythm section, formed of drummer Grace Evora and bass player Danilo Tavares, "Bitori Nha Bibinha" was recorded. The recording catapulted Chando Graciosa to stardom, making him Cabo Verde´s No.1 interpreter of Funaná. The success in Cabo Verde was phenomenal and Funaná rapidly gained the recognition it deserved, especially in urban dance clubs. Bitori´s songs quickly became standards - classics known and loved throughout the country. The musical success, however, was solely limited to the Cabo Verdean islands - until now!

Analog Africa is proud to contribute to the worldwide promotion of Funaná - the once forbidden sound of the Cabo Verde archipelago - by releasing a worldwide re-issue of Bitori and Chando Graciosa´s legendary recording. 

The release will herald Bitori´s first European Tour taking place during the summer of 2016. Watch this space! And listen!

Legend of Funaná

Bitori - Bitori Nha Bibinha (Leave a comment for Victor Tavares aka "Bitori"....we will forward)

Fat Freddy's Drop - The Nod (Direktoratet Remix)

Satingarona Part.1

"El Terrón" The Bongo Hop Feat. Nidia Góngora

enjoythis remix.
copyright :
this is a unofficial remix , not for sale.

Sara Tavares - Coisas Bonitas (Louie Z. afrobooty)(notmaster)

Buy & listen full compilation for 1€ : bit.ly/2DPbvnu

ATTENTION: Although we're giving away these edits for a modest contribution of 1€, we're currently dealing with copyright claims from another label. The release was temporarily taken down and will soon be back up on our bandcamp. Thanks for your patience.

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Since its inception in 2013, Mawimbi founders have been expanding their knowledge of lesser known and rather undiscovered musical territories thanks to chance encounters with likeminded DJs/producers, who were kind enough to put them onto a good amount of under-the-radar tropical gems.

Launched in 2017 and named after Mawimbi's bi-monthly radio show on Rinse France, the "Radio Mawimbi" compilation series is dedicated to unearthing vintage tropical gems in the form of free download edits and remixes by some of the most seasoned diggers and promising rookies of the tropical-enthusiast community!

From deep, drum-heavy workouts to essential Guinea Bissau melancholy, through remixed Beninese afrofunk and vintage South African kwaito, this second installment features the editing and remixing works of Yeahman (Frente Bolivarista), LSD (Love Saves The Day), Déni Shain (ATANGANA Records), Umoja, Mawimbi, ATW (Around The World), Calisto, Turbo Boom-Boom (TBB) and Midnight Ravers.

Compiled by Mawimbi, 2017-2018
Artwork by Vianney Postic / Bertrand Cerruti
Mastered by Jammin Masters in Berlin

Antonio Dos Santos - Djal Bai Si Camin (Deni-Shain Remix) Radio Mawimbi • Volume 2

Official Release Date: 07 12 2018
www.clubcruisemusic.com

Kithembe’ is a roots chant of call and response praising the mystery of the Kamba drum. Brought together by Kenya’s Post Election Violence of 2007/8, Abaki Simba is a collective of Rastafarians based in Nairobi, teaching unity, peace and environmental action through music.
Kithembe uses proverbs and similes to relay a powerful journey of word and sound in daily living. The song radiates a rhythmic message from the ancestors through their poignant belief in African metaphysics.
Kithembe is a message of awareness.
Kithembe is a chant of perspective.
Kithembe is rhythm; rhythm rules the world!
Kithembe is a call to youth to remember their roots in a time of distraction and deceit.

Composed and arranged by Musyoki Mutua - Kenya Percussion and vocals by Abakisimba Music – Kenya 
Produced & recorded by Max Doblhoff – Austria
Co production at ADA Creative Studios Nairobi – Kenya 2018

Abakisimba - Kithembe

Kithembe - Instrumental

Buy it on Bandcamp

Abakisimba - Kithembe (Original)

Tribute to the Diva 27 AOut 1941/17 dec 2011

Cesaria Evora- Bia Lulucha (Dj Julien Lebrun Edit)

Red Hot + Lisbon: Onda Sonora

Mulemba Xangóla

DJ crew out of Copenhagen, Denmark

Funk / Soul / Reggae / Hip Hop / Rhythm & Blues

Members:
Alexander Clement & Andreas Clemmensen

Message us for downloads, gigs, etc. - Visit our FB page for news, or if you just want to spend more time online.

Fat Freddy's Drop - The Nod (Direktoratet Remix)

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