funky music from all over the globe
polish, brazil, indian, turkish,....

crazy curious funky tunes from the world

Cem Yıldız, Barış K & Hogır

*poems by Kul Nesimi (Ben Melamet Hirkasini) and Pir Sultan Abdal (Otme Bulbul)

Kime Ne

Funkyjaws Music keeps on keeping on with its Let's Dance series, which now hits volume number three. It is another doozy that follows the tradition of bringing together four different and equally able artists on one 12". Jacques Renault kicks off with some funky and disco-fried fun on 'Such A Tease' and The Patchouli Brothers take it old school with their steamy disco burner 'Wishin' U Would Call.' The flipside keeps the good vibes alive with some lovely cowbell action and mad-funky riffs on Paul Older's 'Dancin' On Your Mind' and then a little steamy psyched-out guitar magic defines the glorious closer 'House Of Rising Sun.'

BUY:
https://www.juno.co.uk/products/jacques-renault-the-patchouli-lets-dance-vol-3-vinyl/994858-01/

PREMIERE: Elado - House Of Rising Sun [FJMEDITS03]

Mustafa // B. Loda "Obscure Cuts II - Italian Arabic Disco"

Arabian Dance // B.Loda "Obscure Cuts II - Italian Arabic Disco"

112 kbps files for preview - don't be a dunce!

Disco Cuts Vol. 1 looks back on over 3 years of R-N-T doing what they do best, with from slow burners like Luvless - Castles in the Sky to soulful joints like Ron Basejam - Someday to the straight hands-in-the-air disco fire of DJ Vas - Wizard Funk and more. All 10 tracks are essentials in the bag of any modern disco DJ, and theres not a bad apple in the bunch! Plus the package includes 2 previously vinyl only tracks from JKriv and Frank Booker that are now available in all their digital glory.

Buy on Traxsource

JKriv - So True (JKriv's Sunny Splice)

@toddterje
First Heard on Todd Terje's BBC Essential Mix, Saturday 17th July 2013
https://soundcloud.com/toddterje/todd-terje-essential-mix-2013

Download

Neşe Karaböcek - Yali Yali (Todd Terje Edit)

These 45s are only available at http://recordcity.net/  or
https://www.discogs.com/seller/RecordCityBK/profile
Don't buy from hawkers and don't pay more than $15

The Mighty Flames - Road Man (mystic)

Space Echo - The mystery behind the Cosmic Sound of Cabo Verde finally revealed!

In the spring of 1968 a cargo ship was getting ready to leave the port of Baltimore with an important shipment of musical instruments. Its final destination was Rio De Janeiro, where the EMSE Exhibition (Exposição Mundial Do Son Eletrônico) was going to be held. 

It was the first expo of its kind to take place in the southern hemisphere and many of the leading companies in the field of electronic music were involved. Rhodes, Moog, Farfisa, Hammond and Korg, just to name a few, were all eager to present their newest synthesisers and other gadgets to a growing and promising South American market, spearheaded by Brazil and Colombia.

The ship with the goods set sail on the 20th of March on a very calm morning and disappeared from the radar on the very same day.

One can only imagine the surprise of the villagers of Cachaço, on the Sao Nicolau island of Cabo Verde, when a few months later they woke up and found a ship stranded in their fields, in the middle of nowhere, 8 km from the sea. 
After consulting with the village elders, the locals had decided to open the containers to see what was inside but the news had travelled fast and before they knew it, colonial police had already arrived and secured the area. 

Portuguese scientists and physicians were ordered to the scene; and after weeks of thorough studies and research, it was concluded that the ship had fallen from the sky. One of the less plausible theories was that it might have fallen from a Russian military air carrier. The locals joked that the government had wasted their tax money again on a useless exercise, as a simple look at the crater generated by the impact could explain the phenomena. “No need for Portuguese rocket science to explain this!” they laughed. 

What the villagers didn’t know, was that traces of cosmic particles were discovered on the boat. The bow of the ship showed traces of extreme heat, very similar to traces found on meteors, suggesting that the ship had penetrated the hemisphere at high speed. That theory also didn't make sense as such an impact would have reduced the ship to dust. Mystery penetrated the event.  

Finally, a team of welders arrived to open the containers and the whole village waited impatiently. The atmosphere, which had been filled with joy and excitement, quickly gave way to astonishment. Hundreds of boxes conjured, all containing keyboards and other instruments which they had never seen before: and all useless in an area devoid of electricity. Disappointment was palpable. The goods were temporarily stored in the local church and the women of the village had insisted a solution be found before Sunday mass. 

It is said that charismatic anti-colonial leader Amílcar Cabral had ordered for the instruments to be distributed equally in places that had access to electricity, which placed them mainly in schools.
This distribution was best thing that could have happened - keyboards found fertile grounds in the hands of curious children, born with an innate sense of rhythm and these children picked up instruments that were easy to use and would become instrumental for modernising local rhythms such as Mornas, Coladeras and the highly danceable music style called Funaná, banned by the Portuguese colonial rulers until 1975 probably due to the fact that it was too sexy!

Observation was made that the children who came into contact with the instruments found on the ship had prodigious capabilities to understand music and learn instruments. One of them was the musical genius Paulino Vieira who by the end of the 70s would become the country´s most important music arranger. 

8 out of the 15 songs presented in this compilation had been recorded with the backing of the band Voz de Cabo Verde lead by Paulino Vieira, the mastermind behind the creation and the promulgation of what is known today as “The Cosmic Sound of Cabo Verde”. 




GET THE RECORD

Dia Ja Manche  - Dionisio Maio (Leave a comment for Dionisio, tell him how much you love his song !)

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)

Available on vinyl LP, CD and download https://www.mrbongo.com/products/mr-bongo-record-club-volume-one-vinyl-2-lp-cd-1

The first instalment in our new ‘Mr Bongo Record Club’ compilation series – a selection of favourites, recent discoveries and sought after obscurities, which form the basis of our DJ sets and our radio show of the same name. Including cuts by Claudia, Cortex, Dave Pike Set, Fruko, Neno Exporta Som, Connie Laverne, Barbosa and more.

Mr Bongo Record Club Volume One

Buy from mrbongo.com

13 Tappa Zukie – Freak

12 Big Youth – Mammy Hot Daddy Cool

05 Alípio Martins - Piranha

I remember the day clearly. I was searching for treasures in a record shop in Yaoundé, the Capital city of Cameroon, when suddenly I came across a 7-inch record with a picture of a young man wearing a traditional hat and bearing the marks of several imposing vertical scars on the side of his face, carved when he was just a boy as a reminder of his heritage in the Musgum tribe of the northern part of the country.

The record contained two songs – ‘Gandjal Kessoum’ and ‘Touflé’ – by an artist I had never heard of before named Hamad Kalkaba. Both cuts were raw classics of fuzzed-out bass, pin-sharp horns, built upon the unshakable foundation of Northern Cameroon’s mightiest rhythm: the Gandjal. The shop owner - who noticed that I was listening to the same record over and over again - mentioned that ‘There is another single with a green cover of the same artist, if I am not mistaken’.

Over the next six years I searched for that ‘green cover’ and finally found it in a record collection belonging to an old bar in Parakou in northern Benin. While most of the records had been beaten and worn by a life spent in the jukebox, this one had been sitting in its paper sleeve for forty years, untouched and unplayed, seemingly waiting for us to pick it up and rip the two soulful Gandjal tunes from it, the masterpieces ‘Fouh Sei Allah’ and ‘Tchakoulaté’.

These two records, plus a third simply named ‘Nord Cameroon Rythms’ constitute the entire discography of Hamad Kalkaba. Neglected for decades by all but the most devoted collectors of Afro music, Hamad Kalkaba and the Golden Sounds at long last gathers together the body of work of one of Cameroon’s forgotten geniuses.

But unlike many musicians who emerged from nowhere, recorded a few singles and vanished again, Kalkaba hadn’t disappeared. Far from it. He was a distinguished public figure, a retired Colonel in the army of Cameroon, and a former member of Cameroon’s Olympic Selection Committee. When we tracked him down he was serving as president of the Confederation of African Athletics. And Although Kalkaba’s job kept him busy, and he seemed initially dismissive of the music he’d made as a young man, he turned out to be an enthusiastic ally in this project. He arranged interviews, helped fill in the blanks and, when we finally met him in Yaoundé in 2016, provided us with photographs, lyric sheets and notes.

During the interview Kalkaba explained how the songs recorded in the mid 1970s were part of a movement, a movement initiated by musicians from all around Cameroon who, with the help of keyboards, drum kits and electric guitars, had started to modernise the traditional rhythms of their regions. For Kalkaba it was no different and backed by his band the Golden Sounds, devoted himself to the promotion of the sounds of northern Cameroon.

One of the aims of Analog Africa is to showcase the colourful diversity of styles that exist in Africa and its diaspora and today we are very proud to be able to give these Gandjal tunes their first worldwide release.

Hamad Kalkaba and the Golden Sounds 1974 - 1975

Get the Record here:

Hamad Kalkaba - Astadjam Dada Saré(Leave a comment, tell kalkaba how much you love his song!)

Its been a long time coming and finally after 5 years in the making we are very proud to have the chance to present to you instrumental music of a different kind created by the iconic Brazilian musician - Camarão.      

One of the very first Forró songs I ever heard was Camarão’s “Retrato de um Forró,” courtesy of a mix that Fred Thiphagne – founder of the Goma-Gringa label – had made for the music blog Les Mains Noires. But it wasn’t until my friend, the Australian DJ Carlo Xavier, dragged me to Brazil that I got hooked.

Our Brazilian record safari started in Belém, the capital of the Pará state in the north of the country, and although Forró music originated in the northeast of Brasil, it was here in Belém that my Forró education began. 

In the first two days of our trip we had the good luck to bump into a record stand at Praça das Mercês, in the old part of the city; its owner, known as Max Alvim, is considered to be one of Belém best record dealers, and he certainly lived up to his reputation. We found many records of interest almost immediately, but Max advised us to leave a want-list and come back a few days later. When we returned, Max had manage to lay his hands on many of the Carimbó and Siriá LPs we had been looking for. But what surprised us most about Max was his extensive knowledge of Forró music and where to find it. Two weeks into our adventure, not only had we managed to find most of the Pará music we were after, but we also ended up with about half of Camarão’s musical output. 

Some of Camarão’s tunes had a wonderful sense of humour, while others sounded as if they had come from the soundtrack to some imaginary Brazilian Western movie, but all of them were united by a special drive and positive energy. The music surprised me, and anything that tickles my curiosity is destined to be thoroughly scrutinised.

We started toying with the idea of a compilation and decided to travel to Recife, not only to continue our Forró education but also to meet Camarão himself. 

During our stay in Recife, whenever the word Forró was spoken there was always someone coming out of nowhere eager to explain how the word came to be. Apparently in the 1940s, so the popular story goes,  British train-line manufacturing companies based in northeastern Brazil would throw parties for their employees and the best thing about these parties was that everyone was invited. These events were advertised on the radio and in the newspapers as being “for all” which, when spoken with a Brazilian spin, became “Forró”.

But according to historians this explanation is nothing more than humorous folklore. The term Forró, so they say, comes from the bantú word Forrobodó and had already been used in a song called  “Forró Na Roça” composed by Manuel Queirós and Xerém in 1937, five years before the British had arrived. Even before that, in 1912, Chiquinha Gonzaga composed the song Forrobodó, which was classified as a burlesque piece and earned her the Mambembe Prize in 1915.

No matter which version you decide to believe, Forró developed into a general term referring to a group of musical styles, including Xote, Marchinha, Coco de Roda, Baião and other mixtures of African, European and indigenous rhythms. 

We had manage to arrange for an interview with Camarão who was notorious for being a man of few words. His peers would say that “his accordion speaks for him”. We had high hopes that Camarão would not only shed some light on his own legacy but also give us a sense of the vibe in Pernambuco during the heydays of Forró music. We met Camarão at his house in Recife and found him in excellent spirits.

Interviewed by Carlos Xavier himself on the 29th of November 2012, Camarão gave us an in-depth look at his own musical story in the context of the state of Pernambuco during the 60s and 70s. We also received about 50 pictures, half of which have been used to craft the beautiful LP/CD booklet that will come with the music.

Camarão - Ma Nah Ma Nah

MMT - Sevmek Istiyorum

2019 Update: OUT NOW on limited edition 7" vinyl on Dinked Records / Cabin Pressure Recordings available from Juno Records: https://www.juno.co.uk/products/daytoner-feel-like-jumping/718500-01/

All the copies on Bandcamp have now sold out

Digital downloads available on 'Best of the Shedits Vol.2' released on Cabin Pressure Recordings on Bandcamp: https://daytoner.bandcamp.com/track/perfidious
and also at Juno Download: https://www.junodownload.com/products/daytoner-best-of-the-shedits-vol-2/3006058-02/

This time it's a breaks rework of a 1967 classic 'Perfidia', by the Queen of Rocksteady. The usual Daytoner edits have been applied for easier mixing  along with a organ and a vintage break added to toughen a touch - "sock it to me baby!". As featured on The Craig Charles Funk & Soul Show on BBC6 Music

YouTube Video:
https://youtu.be/viapmX4TObM

For Jane from CYMAZ who initially requested a re-edit to mark her 50th. Thanks also to Spinforth for featuring this during a previous 'Scour'.

CPR002

FF45-006

Bandcamp

Perfidious

Katakana Edits vol.7 - THE GAFF

Out Exclusive on Junodownload.com October 15, 2012.

http://www.junodownload.com/products/katakana-edits-vol-7/2050350-02/

Enjoy!

The Gaff - Mambo No.5 (snippet)

Skaldowie - Twą Jasną Widzę Twarz (Holiday 80 Edit)

90s clip of the next episode in Dinked Records ‘Fridays Funky 45’ series which features another pair of Daytoner ‘Shedits’ for vinyl DJs...

A. David's Doctor
B. Ooh Lalo

As the title of the A-side hints, 2 classic samples from David Axelrod (famously flipped by Doctor Dre) and Clyde Stubblefield have been combined to create a new twist on a hip-hop staple. If you’ve seen the Daytoner live show, you’ll have seen them open with some of these samples, embellished with live vocals, brass and FX.

On the flip, ‘Ooh Lalo’ is another instrumental twist for DJ’s and this time, the samples wisely used in a big-beat classic have been re-edited to include more of Lalo Schifrin‘s amazing brass and piano instrumentation, underpinned once again with Apache drums to create a rousing big band beat for breakers.

The first copies of the limited edition 7” vinyl sold out on the Bandcamp page inside 2 days but Dinked have also now made this available  in selected vinyl shops including Juno Records from Friday Jan 3rd 2020.

Dinked Records / Cabin Pressure Recordings 2020.
For Promotional Use Only

crazy curious funky tunes from the world

Dj Akropolis