Name: Volta Blues by Yaaba Funk in Nice or even smooth BeatHop
Duration: 1 min 54 s
Description: Excerpt from forthcoming LP by Yaaba Funk. Mixed and mastered by Daz I Kue (Bgz in the Attic). Guitars by Christian Arcucci. Drums by Lou Ciccotelli.

Personal collection solely for my own interest (- just shared public...). With tracks in random order (not a playlist). I barely have the interest in writing this description so you would find it as inferior work, with scamby wording and loads of incorrect gramma.

(the picture is slightly ironic)

Nice or even smooth
- personal opinion

The boundary between this playlist "Outstanding composes" and "Nice or even smooth composing" is haphazard! I do not regard myself as qualified in making a logic and realistic definition of whether something is standing out OR just as one would expect.

Nice or even smooth BeatHop

The track is OUT NOW on my MUTANTS album! Get it here: http://www.tokyodawn.net/opolopo-mutants/

www.facebook.com/opoloposweden


Gregory Porter - 1960 What? (Opolopo Remix) OUT NOW! www.tokyodawn.net/opolopo-mutants/

Anansy Cissé’s souped-up guitar distortions re-work the West African Desert Blues genre with a new, agitated attitude. Featuring the soku fiddle playing of Zoumana Tereta and accompanied by ngoni, bass and calabash, Cissé’s sound harnesses musical traditions and spits it out anew, taking us into Mali Overdrive.

For further information, please visit www.worldmusic.net/anansycisse

When Cissé’s recording ‘Bala’ landed on our website via World Music Network’s online ‘Battle of the Bands’ competition, we were immediately taken by his gutsy guitar style that plays on tradition by matching it with the direct influence of 1960s and 1970s psychedelic-flavoured rock and roll. 

The story begins in late 2012, when Anansy was forced to dismantle the recording studio he ran in Diré following the invasion of Mali’s northern regions by militant Islamists, many of whom are opposed to secular music-making. His poignant track ‘Gonmi’ calls for peace across Mali and is a reminder of the despair felt by many at the concerning political divisions and connected social reverberations caused by religious tension in the Northern region. Forced to relocate further south, Anansy headed to the beating heart of Mali’s capital city and is now resident blues bad-boy in Bamako.

In Bamako Anansy met Philippe Sanmiguel who is now his percussionist and manager. Anansy soon called on a few more friends to add to the musical pot: esteemed ngoni player Djimé Sissoko laid down some riffs, Abdramane Touré took to the bass and Mahalmadane Traoré found time to slap and smack his calabash. 

Presently Anansy lives in the Faladié district of Bamako and consistently and is steadily working on more material. In the corners of his house, vast towering piles of old-school vinyl peer down on  visiting musicians providing a clue to Anansy’s inspirations: The Rolling Stones, Neil Young, Led Zeppelin, Eric Clapton, Pink Floyd and CSN&Y are all represented. His close appreciation of rock music is heard distinctly via the anthemic guitar riff of the track ‘Fati Ni Koye’. Equal stimulation for his songs, text and rhythm is drawn from traditional Fulani and Songhai music. ‘Sekou Amadou’ pays tribute to the leader and founder of the Fulani Empire of Macina. ‘Horey’ is a takamba song from Gao and Timbuktu. The rhythm is historically linked to the Songhai nobility but electrified and re-energised in Anansy’s version. 

In the often polarised world music community, young African musicians are often either too hastily dismissed as local pop stars who have no international appeal or as authentic saviours in a misplaced quest for authenticity. Now, proudly ramping up the volume and fearlessly taking Malian music into rock overdrive is Anansy Cissé – a pioneer of new music that champions ancient tradition and uncharted modernity at once. 

Anansy Cissé: Fati Ka (taken from the album Mali Overdrive)

Artist: Youlou Mabiala
Titles: Various 
Format: Digital 
Release date: 28th April 2014
--------------------------------------

The first 18 (with more to come!) 1978-1992. 

1	Youlou Mabiala 	Youlou
2	Youlou Mabiala et l'Orchestre Rumbaya (Les Souvenirs)	Youlou Mabiala
3	Le Prince Youlou Mabiala	Sentimental
4	Le Prince Youlou Mabiala & L'Orchestre Kamikaze Loningisa	Etabe Mofude
5	Le Prince Youlou Mabiala & L'Orchestre Kamikaze Loningisa	Judoka
6	Youlou Mabiala 	100% de pourcentage
7	Le Prince Youlou Mabiala & L'Orchestre Kamikaze Loningisa	M'Bata Otikali! Otikali!
8	Le Prince Youlou Mabiala	1 x 2 = Mabé
9	Le Prince Youlou Mabiala & L'Orchestre Kamikaze Loningisa	Couper-Soucis
10	Le Prince Youlou Mabiala & L'Orchestre Kamikaze Loningisa	Karibu
11	Le Prince Youlou Mabiala	Lili et Nsona, Live in Miguel "Casse Coup"
12	Le Prince Youlou Mabiala & L'Orchestre Kamikaze Loningisa	Leo?? Utataaaya!!!
13	Le Prince Youlou Mabiala avec la grande force Kamikaze Loningisa	Mon Avocat A Voyagé
14	Le Prince Youlou Mabiala avec la grande force Kamikaze Loningisa	Loufoulakari
15	Le Prince Youlou Mabiala & L'Orchestre Kamikaze Loningisa	Marie Bima (Mon avocat a voyagé 2e épisode)
16	Youlou Mabiala 	Kamikaze Loningisa
17	Youlou Mabiala, guest star Josky Kiambukuta	Dona Beija
18	Le Prince Youlou Mabiala & L'Orchestre Kamikaze Loningisa	Keba Na Moniato

Special thanks to Martin Sinnock a.k.a. Papa Mundele along with Brian Parson a.k.a. Zuppe Inglese, for their generosity in allowing us access to their comprehensive collections of African vinyl, tape and CD.

Youlou Mabiala: (edits) Carte Postale "Intro" / Mofutela N'Dako

India's classical music is deeply bound to the country's ancient mystical traditions. This unique Rough Guide brings together the greatest names in Indian Classical music, performing some of the most beautiful ragas of India’s classical legacy. Enjoy the musical artistry of legendary performers such as Shivkumar Sharma, Hari Prasad Chaurasia, Zakir Hussain and Ravi Shankar.

For more information, visit www.worldmusic.net/indianclassical

THE ROUGH GUIDE TO INDIAN CLASSICAL MUSIC

India's classical music is deeply bound to the country's mystical ancient traditions. Stretching back  through time to the Vedic period musical historians encounter the Rigveda, an ancient collection of Sanskrit hymns, and the Sama Veda, a text which begins to discuss the origin of seven shruti (notes) from the sounds of nature. The practice of combining tones in certain sequences and the notation system that was developed during this era is connected to the development of the Indian classical raga form. 'Raga' literally translates as a 'hue' of colour and is a musical method of constructing melody through prescribed conventions. Ragas are linked to different moods and times of the day. Amjad Ali Khan's ‘Raga Chhaya Nat’ is in the Hindustani (North Indian) chhayanat mode and illuminates his crystalline prowess on the sarod, a stringed lute that is played with a plectrum. Uppalapu Srinivas' song 'Sankari Sankuru' is played on his mandolin in saveri raga, which is said to bring about the mood of pity and was originally composed by one of Carnatic (South Indian) music’s greatest figures Syama Sastri (1762-1827). 

Indian Classical Legends Shivkumar Sharma, Hari Prasad Chaurasia and Brij Bhushan Kabra are heard delicately delivering a Hindustani bhairav raga on ‘Ahir Bhairav’. This raga is related to Sikh tradition from northern India and appears in the Guru Granth Sahib (the central religious text of Sikhism). Ravi Shankar’s radiant sitar shines bright on the fast-paced track ‘Devgiri Bilawal Dhun’. Shankar’s name and ascendant international career is now synonymous with Indian classical music. Widely regarded as a musical sage or pandit, his definition of raga touched upon its vast and complex nature, describing it as a ‘scientific, precise, subtle and aesthetic melodic form’. Another sitar scholar, Vilayat Khan is heard on ‘Dhun Punjabi Ang’. The Khan musical lineage traces all the way back to the court musicians of the Mughal Empire.

Father and son duo Allah Rakha and Zakir Hussain enter into percussive playoff on the live track ‘Ek Taal’. Tabla virtuouso Zakir Hussain remains grounded by the musical discipline and natural flair he inherited from his father who he regarded as ‘a spirit who was created to work for music by God’. Carnatic vocalist Dr M. Balamuralikrishna’s marvellously melodic instrument sparkles on ‘Sadhathava Pada’. His formidable range and versatile tone mark him out as a legendary singer. He is also credited with popularising the jugulbandi concept in Indian classical music – when two soloists of equal skill perform together. Riverboat Records artist Jyotsna Srikanth contributes ‘Annapoorne’, a work crafted by the famous Carnatic composer, Muttuswami Dikshitar. The subject matter concerns Annapoorne, the Hindu goddess of nourishment. The raga used is sama, one that denotes peace.

Uncover the mystery and beauty of India’s verdant classical tradition on this excellent introduction to one of the world’s most valuable musical repertoires. 

Jyotsna Srikanth: Annapoorne (taken from The Rough Guide To Indian Classical Music)

In conjunction with compiler and highlife researcher Dr. Markus Coester, Soundway Records present a very special release. Double CD & triple 180g gatefold vinyl (with a bonus 7 inch).

This 45 includes the two first ever recordings by a certain Fela Ransome Kuti with his band The Highlife Rakers. Recorded by Melodisc in London in 1960 both tracks have been unearthed after more than fifty years in hiding.

In many ways this compilation is a prequel of sorts to Soundway's groundbreaking Nigeria & Ghana Special compilations, telling the early story of modern highlife's foundation & formulation. It traces the music from West Africa to London, adding elements of jazz, mambo and calypso along the way and paving the way for the afro sounds of the 1970s.

Accompanied by a 44 page CD booklet and 12 page vinyl booklet, the notes by Dr. Coester include rare photographs, labels and advert reproductions alongside some stunning and very rare recordings. 

Pre-order: 

Pre-order

Fela Ransome-Kuti & The Highlife Rakers - Fela’s Special

Cassimbas Negras - Bumburumbumbum

A colab between the mighty Yaabafunk and Dominic Dawson, inna Afrobeat Style featuring half Ghanian half English vocals from Chief commander Richmond Kessie & Helen McDonald.

Dominic Dawson V's Yaabafunk "Dance Away" (One away Vocal Mix)

little piece for the StonesThrow Beatbattle

Venus (STBB#307)

I did this one for a Girl i really like. 

Feel free

localroku.bandcamp.com
http://www.facebook.com/IvyLeagueZombieMusic
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prodbyilz@gmail.com

Roku - Paradise

Irgendwas mit Flöten

Excerpt from forthcoming LP by Yaaba Funk. Mixed and mastered by Daz I Kue (Bgz in the Attic). Guitars by Christian Arcucci. Drums by Lou Ciccotelli.

Volta Blues

Hey luvs

This mix was originally posted last year on Clash Magazine as part of their podcast series.  A mix for celebrating fun in da sun.  

Here's my description on Clash from fall 2012 :
This mix is a soundtrack to your Indian summer, if you’re having one right now, or a mix for those people that are in need of a lil’ sunshine. It’s a very summery/sunny mix to bring you out of your fall funk. Lots of juke/footwork and a lil’ jungle thrown in for good measure. There’s some jokes in there too. I went for the more soulful style of footwork instead of the colder minimal tunes meant more for the dancefloor. I played this exact set at the XLR8R boat party at Dimensions festival in Croatia this summer.

Machinedrum - Sunshine Mix

21st Century Hi-Life Afro Funk from Brixton. Second album My Vote Dey Count out now on Sterns.

Volta Blues

Yaaba Funk

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