we dey beg we dey beg...we still dey beg...akonfem akukor wer dey the egg...we dey work we dey walk wey u dey fly...we dey talk u dey talk u no dey try...sankofa sankofa mek u return...europe dey freeze wey africa dey burn...kubolor sulley ayisoba...kwesi adortanga jamaica...the way we dey suffer to get visa den go there suffer more chale e b like we craze...chale dem dey offer dema empty coffers, but sake of e dey shine b like we daze...hmm...don't look at the face, teef teef...just look at their ways, beef beef....giv us a taste, please please...political waste, dis ease....vim!

A powerful tune no matter where your ‘home sweet home’ may be 🌍

The history of the Maiga and Toure families, and how they solved their conflicts to live in peace. It tells the story of how the two families developed their “cousinage,” or how they became cousins.


Album available From iTunes: https://itunes.apple.com/us/album/tamala/id722299420
Bandcamp: http://amiwassidje.bandcamp.com
Amazon: http://www.amazon.com/dp/B00FISF1T4
Deezer: http://www.deezer.com/en/album/6986109
eMusic: http://www.emusic.com/album/art-melody/wogdog-blues/13939852/



Aminata Wassidjé Traoré is a rising voice in Mali. Tamala is her debut album, recorded in Bamako between 2000 and 2008. Born in Diré, near the fabled city of Timbuktu, Ami was raised within northern Mali's rich cultural brew. From an Ethnic Songhai family, Ami started singing as a young child. Her music, like the environment that surrounded her growing up in Diré, near Timbuktu, incorporates various cultures and traditions. On Tamala, an album she self produced with the help of artist Mamadou Kelly (http://www.rockpaperscissors.biz/index.cfm/fuseaction/current.bio/project_id/721.cfm) and arranger Baba Simaga, she sings in Songhai and Tamasheq.

While northern Mali still suffers the repercussions of religious and ethnic warfare, Tamala sends a message of reconciliation and inclusion. Ami believes people can work together for a solution, she sees the vast potential of Mali's diverse north. Moving to the Southern capital of Bamako not only enabled her to develop as a musician, backing up well known artists like Baba Salah (http://www.npr.org/2013/03/21/174416220/baba-salah-a-malian-musician-speaks-to-his-nations-displaced), Khaira Arby (http://www.youtube.com/watch?v=1UDecjaj4ek) and Afel Bocoum (https://en.wikipedia.org/wiki/Afel_Bocoum), it also enhanced her vision of a diverse and connected Mali.

Tamala is considered a modern-traditional album in Mali: it is rooted in northern folk musical traditions, but arranged in a contemporary way. it was conceived locally, for a Malian audience, and shines in its subtle simplicity. This album is also the first collaboration between Paul Chandler's Studio Mali (http://www.studiomali.com) and Akwaaba Music.

Paul set up Studio Mali as a label and artist management company, and has worked with legendary musicians such as Afel Bocoum, Vieux Farka (https://en.wikipedia.org/wiki/Vieux_Farka_Tour%C3%A9), Baba Salah, Andra Kouyaté (http://www.afropop.org/wp/3319/3319/), Samba Touré (http://www.samba-toure.com/) and most recently on Mamadou Kelly's album Adibar. Paul also founded i4africa.org (http://i4africa.org/), an NGO whose goal is to preserve traditional music, and provide training in the arts to underprivileged and at-risk youth in Mali.

Aminata Wassidjé Traore - "Tamala"

Chanson pour la Paix au Mali. Extrait de l'Album complet de Yeli Fuzzo "Tadaza". 16 titres de Yeli Fuzzo qui mélange les thèmes et les genres à travers le Mali (Afrique de l'Ouest) depuis Bamako jusqu'à Kidal en passant par Ségou, Kayes, Sikasso, Mopoti, Gao et Tombouctou

La Paix (feat. Zibou, Alou Sangaré, Zou Téréta et Oumou Bah)

Franco - La Rumba O.K (from "Roots of OK Jazz")

Coming end spring '10 on Mut-Vybez '10 Edits & Re-splits Pack.

Oumou Sangare - Wele Wele Wintou (Neter Supreme Re-split)

Orchestre Rock - A-Festival -- Mwana Mawa

Orchestre    Rock A Festival -- Mwana Mawa

Available from http://www.mrbongo.com/products/3rd-generation-band-because-of-money-obi-ye-saa-wui-7-vinyl

The 3rd Generation band was formed in the late 70's led by ‘Rockson’, who was a soldier at the time. The band recorded only six tracks, all for Essiebons, including the two featured here – 'Because of Money' and 'Obi Ye Saa Wui'.

Our man Gary Johnson bought a 7” from a dealer in New York on digging trip some years ago. He knew ‘Because of Money’, and was delighted to find that the B side was just as strong. 

‘Because of Money’ was originally released on Essiebons ‎– EB 398 7” and was featured on Soundway’s excellent ‘Ghana Soundz’ compilation. The record is extremely rare – yet to make an appearance on either Discogs or even Popsike.

Buy 7"

3rd Generation Band – Because Of Money

"Mokole" is the first song to be released from Mokoomba's upcoming album "Luyando".  The composition is based on traditional rituals and lore celebrating and honouring the waterfall (the smoke that thunders / Victoria Falls) as a source of life for all who inhabit the region. The song is particularly poignant now at a time of drought across Zimbabwe but also as an invocation to the younger generation to take care of the environment, because we are fragile and vulnerable and dependent on it for survival. “The waterfall is a life giver. It brings us water to drink; it makes our river full so we can fish. It is a source of life. Let us rejoice for there is water and hope we will always get plenty.”
Mokole is written in a mix of Luvale and in Ndebele a language which is the most common for people living in the region of Victoria Falls, which is a cross-roads between numerous ethnic groups as well as a border between Zimbabwe and Zambia. Ndebele is the dominant language in the region but it is traversed by other languages and dialects like Luvale, Chewa, Nambya and Tonga.

pre-order "Luyando" digitally, on CD or on Vinyl: 

iTunes: http://apple.co/2ji9jZM
Bandcamp: http://bit.ly/2k3ORQf
Amazon: http://amzn.to/2jsLphK

Luyando

Mokoomba - Mokole

taken from: King Ayisoba - 1000 Can Die
Order direct:
https://goo.gl/PztasF
Streaming, iTunes & Amazon:
https://idol.lnk.to/KingAyisoba

Release date: March 31th, 2017
www.glitterbeat.com

Born in Bolgatanga in rural Ghana, King Ayisoba was a prodigy on the kologo, playing locally until he’d outgrown the possibilities of the area. Moving to Accra, the country’s biggest city, he eventually released the song “I Want To See You, My Father.” There was nothing modern about it. No hiplife rap, no electronic beats. But somehow it conquered the country and brought the tradition firmly into the mainstream.

“It was Song of the Year and Traditional Song of the Year,” says album producer Zea. “He also had a song called “Modern Ghanaians” that said we shouldn’t forget the tradition. Instead we should use it to fight modern problems.”

With that mantra, King Ayisoba became the unlikeliest star. His music was a strong weapon for Ghana’s traditions. What he wanted, though, was to play with a band, to bring what he called the “man-power” to give the full drive to his sound. On the album Wicked Leaders, with Zea producing, that’s exactly what he did.
After that Ayisoba toured Europe together with Zea, opening up solo, providing guitar, vocals and live electronics on stage, and Francis Ayagama joined King Ayisoba's band on djembe and bemne drums

Alone or with beats, ultimately the power that propels 1000 Can Die comes from the band itself, from the sense of history that forms every piece of music. It’s there in every musician. They all go home and farm. They’re connected to the land, and the songs are part of the harvest they bring from the fields and from their own families.
“Ayisoba’s grandfather played the kologo,” Zea says. “But only in the house. He was a healer, a shaman. People would come and tell him their problems. He’d make a connection with the spirits, then play and start singing, and his stories would include solutions.”

On 1000 Can Die, King Ayisoba is digging a new future from Ghana’s soil.

1000 Can Die

Africa Needs Africa

King Ayisoba - Africa Needs Africa

Afro Latin Soul

Mulatu Astatke-  Playboy Cha cha

“KonKoma is the name of a tribe in Northern Ghana. They are very colorful and the rhythms are wonderful. This band is like a live rebirth of Ghana’s music from the 70s and 80s, it feels like very authentic and rhythmic Ghanaian music.” Alfred ‘Kari’ Bannerman

London based Afro-funk outfit KonKoma will release their self-titled debut on Soundway Records on June 25th.  Rooted in 1970s Ghana the group was produced and formulated by saxophonist Max Grunhard and producer Ben Lamdin (Nostalgia 77). The idea was to create a band around two highly esteemed Ghanaian musicians - Alfred Bannerman and Emmanuel Rentzos. Both are mercurial talents who over the years have graced the stage with the likes of Bobby Womack, Hugh Masakela and Peter Green as well as being long term members of the Afro-rock band Osibisa, but it wasn’t until KonKoma that the two old friends have had a band built around the two of them.  

The English-speaking West African country was the destination of Soundway’s acclaimed compilation series Ghana Soundz Afro-Beat, Funk And Fusion in 70’s Ghana. It has been a long held ambition for the label to work with a contemporary Ghanaian band who can push the country’s unique take on Afro-beat and highlife forward.

KonKoma adds a progressive edge to their rich blend of Afro-funk, jazz, soul and traditional African rhythms as well as acknowledging the 70s recordings that spawned the sound. Produced by Max Grunhard and Ben Lamdin, the album was recorded and mixed by Mike Pelanconi (aka Prince Fatty) in Brighton. 

Guitarist Alfred Bannerman, founding member of teenage Afro-rock band Boombaya (featured on the Soundway compilation Ghana Special) has remained one of the mainstays of the UK’s African music scene for more than 20 years. Keyboardist Emmanuel Rentzos has been playing alongside his fellow Ghanaian since the early 1970s when he was the lead singer of the young Ghanaian outfit Santrofi. Once Max and Ben had won the support of Alfred and Emmanuel, Ghanaian musicians and now key members of KonKoma, Nii Tagoe and Reginald ‘Jojo’ Yates came on board. As Nii explained in a recent interview with Soundway, it didn’t take much to persuade him. 

“If Alfred and Emanuel say, “Jump!” I would say, `’How high?” 

Nii Tagoe, a member of the Pan African Dance Troupe for over 20 years and the most natural frontman on stage, takes lead vocals on ‘Kpanlogo’ a ferocious up-tempo Afro-funk number that took it’s inspiration from a traditional Ghanaian dance where the movement of a dancer mimics the movement of a snake. Likewise Nii Tagoe found his inspiration for ‘Sibashaya Woza’ in a traditional dance from Zululand.  

Celebrating their 10 year anniversary this year, Soundway’s Ghana Soundz compilation featured amongst others, Ebo Taylor, who inspired a young Alfred Bannerman in his formative years growing up in Cape Coast. Alfred fondly remembers breaking out of his house as a child to hear the big highlife bands of the 60s play in his home town in Central coastal Ghana. 10 years on from that inaugural release Soundway have signed a living, breathing live re-birth of the music found on their seminal Ghanaian compilations. 

KonKoma make their live debut at The Rich Mix in London on 1st June.

KonKoma - Kpanlogo

International  Orchestra  Safari Sound - Homa  Imenizidia

Glitterbeat is committed to global sounds and artists that don’t necessarily rubber-stamp our pre-conceptions of what regional music sounds like.  We live in a world of ever increasing intersections and the global musical conversation does not operate according to straight, predictable, and easily delineated rules. It is a conversation that is being reinvented and revolutionized each day.

King Ayisoba - Africa Needs Africa

Glitterbeat Records

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