Techno

From the compilation:
Afrobeat Airways 2 - Return Flight to Ghana 1974-1983
Release Date: September 17th, 2013
(click below for promotional pictures and additonal information)

bit.ly/15AR6bg

From the coastal cities of Accra and Cape Coast, basked in a tropical sound heavily influenced by highlife, to the semi-Saharan cities of Tamalé and Bolgatanga (part of a self-proclaimed ‘Islamic Funk Belt’) via the central city of Kumasi, Analog Africa (analogafrica.blogspot.com/) has criss-crossed Ghana in search of rare tracks, part of its ongoing, hard-grooving mission to bring the soul, funk, and vintage local pop out of obscurity and into its deserved international place.

Building on the success of the first installment in 2009, Afrobeat Airways 2 (Analog Africa; release: September 17, 2013) is a selection of 13 ultra-rare tracks by some of the musical giants who had created a movement that rocked the West African nation throughout the ‘70s: legendary singer K. Frimpong; Nana Ampedu (leader of the mighty African Brothers Band); Gyedu-Blay Ambolley and his superb guest appearance with The Complex Sounds; afrobeat star Ebo Taylor, backing his son in an unreleased track called ‘Children Don’t Cry’; the enigmatic Rob and his unique blend of twisted afrofunk; innovative drummer De Frank; and Uppers International, with their raw Islamic funk style. More obscure artists such as Los Issufu and his Moslems, Waza Afrika 76 and Tony Sarfo and his Funky Afrosibi make northern hemisphere debuts, adding to a rich list of Ghanaian artists whose music could be transferred seamlessly to any dancefloor in the world.

As with all Analog Africa releases, this is about more than just the sounds. It’s about the place, time, and people who shaped the scene. To document this, the accompanying 44-page booklet of Afrobeat Airways 2 features an introductory essay written by Afropop Worldwide editor Banning Eyre, exploring the development of soul, funk and afrobeat during the ‘60s and ‘70s in Ghana. The remaining 30 pages are packed with interviews and biographies of the artists and producers involved in the creation of this wonderful music.

Additionally, the Analog Africa team have managed to track down the photographers of the famous Modern Photo studios, located at the front of Accra’s legendary TipToe, a venue notorious for organizing unforgettable dance competitions, ‘Miss Tip Toe’ contests and the most in-demand highlife and afrobeat gigs of the day. 400 negatives have been lent to the Analog Africa team. Samy Ben Redjeb selected 50 of the most expressive pictures to document this little-known but striking musical scene.

SAY MIN SY SOH - Pierre Antoine & Vis-a-Vis (dedicated to Hidehito Morimoto and Vik Sohonie)

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!

FATIMITA - Urbano de Castro

Here is the full recording from the Drumcode stage at Awakenings that was broadcast on Drumcode Live. First up was Ida Engberg followed by Alan Fitzpatrick, Joseph Capriati, Paul Ritch and ended the stage myself!

Enjoy!

Drumcode Stage Live from Awakenings 29.6.2014

B2. Gblanco - Tapering

Sam Paganini at Awakenings ADE 16-10-2014

SoundCloud: @soundcloud.com/awakenings
Facebook: www.facebook.com/awakenings
Website: www.awakenings.com/

Sam Paganini at Awakenings ADE 16-10-2014

Thanks for the great feeling at Bindy Club in Pau France.
Here you can download and check my 3 hours long live DJ set from the party. :)

Jay Lumen live at Bindy Club Pau France 21 november 2014

Breach recorded live in Amsterdam at Studio 80 in October 2014. 

Facebook Page

Breach Recorded Live In Amsterdam

erick snowmon

here!!

Indio Toba (Gallardo Edit)

Mosaico De Bunde -Grupo Bahía (Mr. Toé Edit.)

Fátima -Mr. Toé Edit.

Doloresispain v.2

Available on Analog Africa No.13 - The Skeletal Essences of Afro Funk
Release date: April 30th

Doloresispain v.2

Jazzvier86

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