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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! 

Avante Juventude - Os Anjos

Original version appears on his 2012 album "Maraqopa". 

Enjoy

Damien Jurado - Maraqopa (Ole Smokey's Extd Edit)

From the Lost Colony 12-inch, out April 29, 2014 on Merge Records.
http://www.mergerecords.com/lost-colony

Lost Colony

Order from Merge

William Tyler "Whole New Dude"

Cametá, a historical little Amazonian town on the shores of the river Tocantins, is the birthplace of the scorching music known as “Siriá”; a cross pollination between the music of the inhabitants of the quilombos, a Brazilian hinterland settlement founded by escaped slaves of African origins, and the indigenous people of the Amazon rainforest. It is a breathing, pulsing, emphatic beat, and the modernised version of this local music, created by Mestre Cupijó, has been igniting street parties and traditional festivals across the state of Pará in Northern Brazil for decades. And at last in 2014, the combustible sound of Siriá will be celebrated internationally as the feverish, tropical sound of the summer!

Foretelling his talent to flow between cultures, Cupijó was named after a local river when he was born in 1936, into a family of musicians. His father, Mestre Vicente Castro, was also known as Mestre Sicudera, the musical director of Centennial Euterpe, one of Brazil ́s oldest bands, founded in 1874.

At 12, Cupijó started to play the clarinet. He also became proficient at the piano, mandolin and guitar, although the instrument that came to personify his sound was the alto saxophone. Waltz, bolero, cha cha cha and an assortment of dance hall music became part of Cupijó's repertoire, but it was Carimbó and Siriá, the music played by the black communities of Pará, that had the strongest impact on the young musician.

To grasp the soul of this music, Cupijó went to its source and lived with the quilombolas (maroon) community of the Amazon. Upon his return, enriched by this life-changing experience, he founded the band "Jazz Orquestra os Azes do Ritmo" with the goal of reinventing Siriá and modernising Samba de Cacete, Banguê and other folkloric music of the state of Pará. Airwaves from the Caribbean and Latin America had also brought the cumbia sound of the mighty Colombian orchestras, Merengue from the Dominican republic and Cuban music to the Amazon, all of which had an impact on the music of Northern Brazil, Mambo especially! Mestre Cupijó took these influences and mixed them in with the ingredients he had studied in the Quilombos. That fusion – as we are witnessing on this record – had explosive effects.

His fresh new sound became the soundtrack to Cametá's legendary Carnival and soon his troupe were invited to other festivals along the river. Transportation to these concerts was via small boats, where three or four musicians would share a vessel with their instruments tucked between their legs. In those days there were no posters or radio adverts to promote the shows in any way, yet Cupijó’s shows became notorious. In an interview one of his band members explains: "Whenever there was a party – on a Saturday for example – and it was known that Mestre Cupijó would play, the news would spread incredibly fast, just by word of mouth. We didn’t understand how that was possible, but it certainly was amazing."

After the initial wave of enthusiasm, the first two LPs were recorded with rudimentary equipment in a dance club in Cametá. However, it was the third attempt, recorded in a studio in Belém, which would trigger a phenomenal success. "Caboclinha Do Igapo" and "Mambo do Martela", included on this record, became instant hits. A year later, "Mingau de Açai", one of Cupijo ́s most popular tunes, took the region by storm. In total six LPs were recorded by Mestre Cupijó.

He then created "Concurso de Musicas Carnavalesco de Compositores Cametaenses”, a contest for carnival music composers. The songs composed expressly for these contests in the 70s are still performed today during carnival season. In addition to evolving the Pará music culture in this way, he also owned a makeshift soundsystem, "Musicolor", to spin the discs of local artists before his own shows to the frenzied crowds. Mestre Cupijó proved himself a philanthropist as well as a conductor for the people’s music, and acted as a provisional lawyer for the city of Cametá, specialising in help for the poor. He also had a short spell in politics and was elected by a vast majority to the station of Municipal Councillor of Cametá.
Master Cupjó, the pillar of Pará's festive culture, and a humble pop icon who was ushered prominently into the country’s history books, passed away on 25 September 2012, at the age of 76.

We at Analog Africa are ferociously proud and honoured to have the chance to present these carefully selected tracks from Mestre Cupijó’s six studio albums. We hope that his music captivates you with the magic and bewilderment that is has us. We recognise his compositions as true anthems of life and vitality, vibrantly encouraging all to drink and dance until sunrise! Let go of your inhibitions and immerse yourself in the wonderful world of Mestre Cupijó........ Segura!!!



Caboclinha Do Igapo - Mestre Cupijó e Seu Ritmo (OUT NOW)

Amiable Strangers

The Cotton Jones Basket Ride // Chewing Gum

'Rhama' is taken from the forthcoming Flamingods album 'Majesty'. 

Pre-order here and receive Rhama right now: http://smarturl.it/MajestyDirect 

www.facebook.com/flamingodsmusic
https://twitter.com/Flamingods
www.soundwayrecords.com

Flamingods on tour 2016

30 April 	STOCKTON, Sonic Union
06 May 	BRISTOL, The Exchange
11 May 	LONDON, Oslo
18 May 	LEEDS, Headrow House
19 May 	MANCHESTER, Soup Kitchen
21 May   BRIGHTON, The Great Escape

29 May 	CARDIFF, The Full Moon
04 June  NOTTINGHAM, The Chameleon
08 July   BRIGHTON, The Hope & Ruin

Flamingods - Rhama

"Precious Life", produced with famed drummer Joey Waronker (Beck, Yeasayer, Atoms For Peace), is the the title track from Los Angeles songwriter AM out today. The drumming is raw, a treat for fans of Waronker’s playing and “Precious Life” captures sonically what it’s title suggests. The record is intimate, up close…even the groovers. You’re hearing the details clearly and, hopefully, appreciating the sensation.

AM summons a dreamy sound with Waronker behind the drums and the board, and with AM doing just about everything else on synths, bass, and guitar, the two carefully craft a record that is honest and emotional, yet swings and pulses. Music made for the headphones...the big ones that is.

AM - Heavenly Eyes

"Run Sister Run" by Cass McCombs from the album 'Mangy Love,' available 8/26
Pre-order here: https://lnk.to/CassMcCombs

Official Site: http://cassmccombs.com/
Facebook: https://www.facebook.com/CassMcCombs
Twitter: https://twitter.com/cassmccombs

Cass McCombs - Run Sister Run

The 2-song Flight to the Jungle single is a prelude to the Flowering Jungle album. Meant to be an intermission between taking off from Mystery Cove and landing in the Flowering Jungle, the collection of tracks scores a hazy trip over various lands. The single consists of tracks from both the Mystery Cove and Flowering Jungle sessions.

https://monsterrally.bandcamp.com/album/flight-to-the-jungle

Flight to the Jungle (Single)

Flight to the Jungle (Take Off)

Monster Rally - Flight To The Jungle (Take Off)

http://lightintheattic.net/releases/775-light-in-the-attic-10-year-anniversary-wendy-rene-after-laughter-comes-tears

Celebrating Light In The Attic's 10 year anniversary in 2012, we are releasing a series of very special colored vinyl 7"s and digital downloads. The series features contemporary artists covering a track reissued by Light In The Attic on the A-side, plus the original version on the B-side.

Second in the series we have Alex Maas of the Black Angels, Erika Wennerstrom / Jesse Ebaugh of Heartless Bastards, and Robb Kidd (under the band name Sweet Tea) covering Wendy Rene's 'After Laughter Comes Tears'. Preserving the original song's creepy organ and tortured soul, Sweet Tea adds deep dub bass and raw power. Wendy Rene's original -- beloved of Wu Tang Clan, who sampled it on 'Tearz' -- was one of a handful of timeless soul songs she recorded with The Drapels and solo for Stax before retiring prematurely to raise a family.

A side is produced by Alex Maas / Brett Orrison and recorded at Out The Woodwork Studios, Austin, TX, July 2012. B side features the original Wendy Rene version as remastered by John Baldwin for our anthology of her work, "After Laughter Comes Tears: Complete Stax & Volt Singles + Rarities 1964-1965".

A side is produced by Alex Maas / Brett Orrison and recorded at Out The Woodwork Studios, Austin, TX, July 2012. B side features the original Wendy Rene version as remastered by John Baldwin for our anthology.

+ Limited edition 7" series on colored vinyl with custom LITA juke-box style sleeve.

+ Other artists in the series include Iggy Pop & Zig Zags covering Betty Davis, Mark Lanegan covering Karen Dalton, and Charles Bradley & The Menahan Street Band covering Rodriguez. More releases in the series to be announced.

Devendra Banhart: "Your Fine Petting Duck"

Nonesuch Records

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