Jeseuss😜🤗🤗🔥❤️❤️❤️❤️👽📐👀

Oups!

Fluid - Jestofunk

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

Saxon lee & The Shadows international: Mind your buisness ( Dj Julien Lebrun edit)

Hey Lover - Hardkandy featuring Laura Vane

Buy the single in all formats here:
BIG CROWN WEBSTORE: https://bigcrownrecords.com/store/bacao-rhythm-steel-band-love-like-this-45-edit-bw-was-dog-a-doughnut/

Taken from the Bacao Rhythm & Steel Band album "55" available here:

BIG CROWN WEBSTORE: https://bigcrownrecords.com/store/55-album/
BUT / STREAM: http://geni.us/BacaoRhythm55


Follow Bacao Rhythm & Steel Band:
https://www.facebook.com/BacaoRhythmSteelBand/
https://www.instagram.com/bacaorsb/
https://twitter.com/bacaorsb
https://open.spotify.com/artist/0sjhSgEkyVa8QRmkkuckJ0

Visit us at:
www.bigcrownrecords.com

Follow Big Crown Records:
https://open.spotify.com/user/bigcrownrecords
https://www.instagram.com/bigcrownrecords
https://www.facebook.com/bigcrownrecords
https://twitter.com/bigcrownrecords?lang=en
https://soundcloud.com/bigcrownrecords
https://www.mixcloud.com/BigCrownRecords

Buy at BCR

Bacao Rhythm & Steel Band - Was Dog A Doughnut - BC004-45 - Side B

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.”

More from Strut:
https://www.facebook.com/StrutRecords
http://www.strut-records.com

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").

http://www.strut-records.com
http://www.facebook.com/StrutRecords

Ene Nyame (Henrik Schwarz Blend)

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

Natty Rebel – Spread a Little Love (Pala Music)

Turn up the positivity with Natty Rebel’s brand-new single Spread a Little Love. Blending roots reggae grooves, soulful vocals, and a message of unity, this track is a fresh reminder that even the smallest act of kindness can change the world.

From the heart of the Caribbean to reggae lovers everywhere, Spread a Little Love delivers uplifting energy for chilled days, sunny afternoons, and moments that call for irie vibes.

🌿 For fans of: roots reggae, conscious reggae, lovers rock, and uplifting island sounds.
✨ Mood: soulful, warm, positive, inspiring.

🎧 Follow Natty Rebel & Pala Music:
Instagram: https://www.instagram.com/nattyrebelmusic/
Facebook: https://www.facebook.com/RealNattyRebel
Spotify: https://open.spotify.com/artist/56CkzKWAjDAxWDaolKmf0o
Apple Music: [link]

#Reggae #NattyRebel #SpreadALittleLove #RootsReggae #PalaMusic #ConsciousReggae #PositiveVibes #IslandVibes #NewMusic2025


Spread a litte love

This album is also available on both CD and vinyl, check your local dealer.

Follow DJ Maestro
Website: http://musicadimaestro.com/
Facebook: https://www.facebook.com/musicadimaestro?fref=ts
Instagram: https://instagram.com/musicadimaestro
Youtube: https://www.youtube.com/user/musicadimaestro1


Mood Indigo (Renegades Of Jazz Remix)

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)

Soul Jazz Records Presents Hustle Sample Mix

From the second album by Australian heavy-hitters DOJO CUTS:

RKX041 DOJO CUTS feat. ROXIE RAY - "Take From Me" available April 16th

DOJO CUTS feat. ROXIE RAY - Sometimes It Hurts

Brazilian Beats 'n' Pieces is an essential introduction / review of the Mr Bongo Brazilian catalogue turntablised and cut-up in a mixtape format by Kev Luckhurst (formerly Phat Kev).

Kev has selected, mixed, scratched and juggled his way through 30 of his favourite tracks from the previous Brazilian Beats compilations. In addition to the main 50 minute mix the release also includes a bonus remix and a bonus re-edit from Kev. This album an essential purchase for both new and old Brazilian beats fans and turntablists alike.

TRACKLIST:

Intro Skit (Pelé Goal) / Deus Me Faca Funky / Mais Kriola / Take Me Back To Piaui (Dubben Mix) / Carolina / Agora Chega / Summertime / Serrado / Eu Balanco (Beatfanatic Rework) / Berimbau (Bongo Re-Edit) / Cidade Vazia / Hot Pants Road/ Marcas / Nao Aguento Voce / A Festa / La Lupita / O Journaleiro / Skit (Studio Drums/Carlos Alberto Goal) / Eu Sou Mais Eu / Jogando Capoeira / Barumba / Pra Mateuz Pader Dancar / Black Soul Brothers / Take Me Back To Casa Bassa / Sam Blues / Carolina Carol Bela / Take It Easy My Brother Charles / Baile Funk Medley / Take It Easy My Brother Charles / Outro Skit (Touradas Em Madri)

Brazilian Beats 'n' Pieces mixed by Kev Luckhurst

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

Mixed and produced by Adam Scrimshire
Mastered by Walter Coelho
Artwork from a painting by Jonny Drop
All kit drums played and recorded by Chris Boot.
All other instruments including Fender Rhodes, piano, Juno-6, percussion, drum programming, guitars and bass by Adam Scrimshire. 

His fourth album, musically, 'Listeners' draws from Scrimshire's passion for jazz, soul and electronic music of all styles; from an energetic combination of Afrobeat and garage on 'Won't Get Better', to the lushly orchestrated neo-soul of 'Thru You', and the harmonious jazz experimentations of 'I Never'. The album features a host of esteemed guest vocalists and musicians telling their own personal stories, including Georgia Anne Muldrow, Emma-Jean Thackray, Joshua Idehen, Madison McFerrin, Chip Wickham, and James Alexander Bright.

"With this album I wanted to get a more focused sound after six years of relearning and development in the studio. But I also struggled to find my own words, to speak about where I/we are now. So I allowed my collaborators total freedom to tell their own story and as they came back to me, they were telling the same stories I wanted to. It's resulted in some deeply personal confessional pieces: mourning family, collapsing relationships, extremes of self doubt and analysis, trying to balance public and inner persona, and a reminder that life in all forms is important.

It’s called 'Listeners' as I am a listener here, I feel like I've been given these very personal experiences to care for. Listeners because, the travesty of the last few years is that we stopped listening to each other, everyone is shouting at each other and no one is learning. And Listeners because I hope I've made something that is for other people more than I have before. I've tried to craft something warmer and more enjoyable, made for those who give me their time in listening to my music."
- Adam Scrimshire

Since joining the Wah Wah 45s label in 2007, Scrimshire has released three albums of experimental cinematic jazz, and electronic sounds. Following his 2009 debut ‘Along Came The Devil One Night​’, his second album ‘The Hollow’ (2011) was a BBC 6 Music Album of the Week, with Gilles Peterson calling it “A late contender for album of the year”.

In the time since the release of his last album ‘Bight’ (“An eclectic range of influences ranging from disco to fusion to more contemporary electronic styles” XLR8R) in 2013, Adam has worked with long-time musical accomplice Dave Koor on new project Modified Man, and launched Albert’s Favourites releasing projects by The Expansions, Hector Plimmer and Jonny Drop. He has continued to gain radio and DJ support for his successful “Scrimshire Edits” series and has produced and mixed records for artist including Stac, Daudi Matsiko, Bastien Keb, Rōnin Arkestra, Jonny Drop. He has also continued to develop the Wah Wah 45s label, where he is now a co-owner and director.

Soul Jazz Records Presents Hustle Sample Mix

Soul Jazz Records

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