Oups!

Kalita are proud to unveil the first ever compilation focussing on the phenomenon of ‘Burger Highlife’, a crossover of West African melodies with synthesizers, disco and boogie that took over Ghanaian airwaves during the 1980’s and beyond. Highlighting key recordings from genre-defining artists including Thomas Frempong and George Darko, as well as more obscure sought-after tracks by elusive bands such as Aban and Uncle Joe’s Afri-Beat, Kalita come to the rescue of audiophiles, DJs and music-lovers alike with ‘Borga Revolution!’ Spread over a double-LP housed in a gatefold sleeve. Accompanied by a 16-page booklet featuring extensive interview-based liner notes on each artist and never-before-seen archival photos.

The 1970s had witnessed an increased Western airtime and physical presence in Ghana introducing funk, soul and disco sounds to the region. By the turn of the decade the country was also enduring economic turmoil, with rising poverty, military dictatorships and long periods of enforced curfews (amongst other factors) making it impossible for artists to survive.

As a result, many Ghanaian artists with a broader outlook began to pursue their careers in the West, moving to both Europe and America in search of stardom. It was here that Ghanaian musicians developed a digitised version of highlife music which fully embraced Western contemporary music styles and newly introduced technology such as the DX7 synthesizer and various drum machines.

It is in this context in which the evolution of Ghanaian dance music and the emergence of ‘burger highlife’ was born. With ‘Borga Revolution!’ Kalita endeavour to tell this story, with prominent and lesser-known musicians’ accounts and documentary evidence providing a comprehensive understanding of this shift to the digital age.

Borga Revolution! Ghanaian Dance Music In The Digital Age, 1983 - 1992 (Volume 1)

Mada Meho So

Buy Here!

A2. Thomas Frempong - Mada Meho So

Orkes Kelana Ria - Semoga

‘With Love’ comes straight from the heart of London-based programmer, DJ and serial cratedigger Miche; who presents a curated selection of rare Brazilian, gospel, modern soul and jazz-fusion fire. 

A selection of hard-to-find records (some impossible to find) and some that have been hiding in plain sight all along. They all share common qualities, being that they are beautiful, soul quenched songs that sing of love, peace and unity.

South Funk Blvd. - Skying High (Getting Off On Your Lovin’)

This is my thank you for all the people who voted for me in the 5 Days Off dj contest!! And off course a tribute to the afrobeat king Fela :)

FREE DOWNLOAD

Fela Kuti - Unknown Soldier (Oby Nine Edit)

AWB - Wasn't I (Mark Wayward Instrumental Edit)

From the self-titled album 'Pat Thomas & Kwashibu Area Band,' out June 15th on Strut. 

iTunes: http://geni.us/PatThomasKwashibu
Strut Store: http://bit.ly/PatThomasStrut

From the album liner notes:
‘Gyae Su’ is a rearrangement of an older song, with a guitar concept typical of the classic Kwa or Kumasi bands and an overall tropical style. Ebo Taylor’s horn arrangements evoke the classic Afro-funk vibe that he originally made famous. The lyrics are as catchy as they are plaintive, with Thomas comforting the listener, “Don’t cry! Life has its ups and downs. Just take it easy and don’t shed any tears.”

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Pat Thomas & Kwashibu Area Band

Gyae Su

Pat Thomas & Kwashibu Area Band - Gyae Su

New update of Ebo Taylor & Pat Thomas classic! Out on Strut July 10th (digital) and September 4th (12").

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Ene Nyame (Henrik Schwarz Blend)

Ebo Taylor / Pat Thomas / Henrik Schwarz - Ene Nyame 'A' Mensuro (Henrik Schwarz Blend)

Mbaganga Groove

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)

Sonny Okosuns - Oba Erediauwa (1983)

Bell Telephunk Love Vibrations unissued soul 1976

A Danish rarity combining folk-inspired synth pop with futuristic new wave, that's become an outsider DJ's favourite over the years. Taken from her first and last album in 1981, reissued and remastered by @frederiksbergrecords.

Read more & buy: http://www.stampthewax.com/2018/03/01/premiere-suzanne-mendel-i-feel-it-starts-again/

Suzanne Menzel - I Feel It Starts Again (Remastered) (STW Premiere)

For its third release, Parisian label Chuwanaga goes back to the past with the reissue of “(Where Is The) Sunshine” by Kalima, a really rare 7” originally released in 1981 and produced in Baltimore (Maryland) by African-American pianist and producer Derrick Amin. Part I on the A side and part II on the B side form a real journey, a beauty in its own style fusing jazz, soul and spirituality as well as political values. 

Back in the mid seventies Derrick Amin brought together young and talented musicians from his African-American Muslim community in Baltimore. He tells us: “all black music in America is a response to racism and slavery” and “(Where Is The) Sunshine” was their own answer, “a plaintiff query of one immerse in darkness. The darkness of lies, lies that deny the humanity, justice, and equality of people. It’s the impetus of this song”. He adds: “Kalima means « Word » or « Langage » in Arabic. The name was inspired by a quote from Imam W.D. Mohammad (the late Muslim American leader and erstwhile successor to Nation of Islam founder, Elijah Muhammad) who once said: “Words make people””.

With its splendid vocal parts - thanks to lead vocalist Sabreen Shareef, a unique major-to-minor chord progression, subtil synthetiser melodies in the chorus and amazing electric piano and sax solos, it really is a very special release. It’s been discovered in a Motor City Drum Ensemble jazz set with Gilles Peterson at the J.A.W. Family Reunion in Berlin back in 2016 where he played it as the closing track of a wonderful musical journey through black music – which was the right occasion for a classic Gilles rewind and the occasion of a shared epiphany. Still, one must not forget its yet poetic still political message now shared once again with the world. The question asked by Kalima sadly still remains as relevant in 2018: Where is the sunshine ?

› https://www.facebook.com/chuwanaga/
› https://soundcloud.com/chuwanaga 
› https://chuwanaga.bandcamp.com
Label founded in 2017 by @saint-james (Maxence Robinet)

[PREMIERE] Kalima - (Where Is The) Sunshine

We present our first release of 2019 and the third in our initial Venezuelan trilogy of 45s. Featuring 2 original compositions by Caracas based multi-instrumentalist and composer Isaac Sasson with a remix on the flipside by London producer & drummer Hector Plimmer (Albert's Favourites).

Side A kicks off with "Paseo en un sueño", a short composition that reflects a dream that begins in the village of El Hatillo and ends at dawn in the hills of Caicaguana, its main theme is a beautiful flute melody played by Tomasito Garcia. As the instruments and vocals fade away, "Canción para mi familia, Venezuela" begins, with Isaac singing "esta melodia es especial para mi mamá, dedicada a mis abuelos, a mis hermanos y a mi papá". This song is a sort of mantra or prayer dedicated to Venezuela and Isaac's family and friends; its spiraling guitar riff and various percussion instruments quickly descending towards a chaotic state of bliss.

Hector Plimmer's remix on the B side reassembles elements from another Sasson original,  "Cantos Campesinos", focusing on a particular vocal motif. Hector retunes the rhythm to his purposes, building tension and borrowing a bell sound to raise it even further, before releasing a skittering drum pattern with plenty of swing and a heavy dose of low end. Before the song ends, Hector goes deeper, adding sensual synth chords and finally a flute-like synth solo to complete this musical trip that is surely destined to soundtrack a few hazy evenings this summer.

The music on this EP has been previously self-released by Isaac on his album "Memorias del canto campesino", but appears here for the first time on vinyl, limited to 300 copies.

Recorded at Estudios El Gran Misterio & Garabato Estudio. Caracas, Venezuela

Re-mastered for vinyl by Frank Merritt at The Carvery, London

Isaac Sasson - Paseo en un sueño / Canción para mi familia, Venezuela

Songs by Di Monaco, Barbera. 2008, Favorite Records.
More info: www.myspace.com/modosolar

Natural (Ultrafunk Patchworks Remix) (Modo Solar)

Music to make you dance. We unearth forgotten musical gems for music lovers to enjoy once again.

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A2. Thomas Frempong - Mada Meho So

Kalita Records

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