Deep South

Wonderful country blues compilation by Swedish researcher Bengt Olsson, recorded in the deep South from 1969-74

Bengt Olsson arrived in America during 1964 with the intention of seeking out and recording long lost blues artists. He made a start in Chicago and then moved on to Memphis, creating a range of field recordings of the likes of Johnny Wilson, Lattie Murrell and Bishop Perry Tillis, who subsequently returned home to preach, believing that his music was tied to the devil.

Featuring mostly unknown and little-known blues figures, this 23-track compilation offers an absolutely scintillating collection of rural country blues. Recorded by Swedish researcher Bengt Olsson over a five year period, this collection features artists from Tennessee, Alabama, Mississippi and Arkansas. 

Some were never heard from again. Others like Dewey Corley and Walter Miller (who recorded for George Mitchell) and Lattie Murrell (who was later recorded as Lottie Murrell by Axel Kustner for the Living Country Blues series referenced earlier in this list) can be found on other compilations and collections. But none of these artists achieved anything approaching fame during their lifetimes. Thats a pity because in listening to this disc you cant help but wonder what might have been. Certainly theres enough talent on display here to make country blues fans mourn the paucity of recordings from these blues men and women. 

Some of the standout tracks include those by Lum Guffin, Lattie Murrell and Perry Tillis. But in truth, theres not a weak cut on the entire disc. Ashley Thompson, who contributes but one song, was obviously a massive talent in his younger days. While the ravages of time clearly had taken a toll by the time he was recorded, he still manages a riveting performance. Joe Townsend contributes a rousing spiritual accompanied by guitar, hand claps and the shouts of the faithful. Although the notes make no special reference to him, I believe this is the same Joe Townsend who recorded a riveting 45 for the Designer Records label in 1970. 

Theres little duplication between the songs that Olsson recorded on Dewey Corley and Walter Miller and those that Mitchell recorded. Its great to have more from these little known artists. 

The collection ends with two great fife-driven numbers: One by Othar Broadnax and the other by the Fife and Drum Band of the United Sons and Daughters of Zion, Chapter Nine. 

Its just one more reminder that they dont make music like this anymore. 

(For further listening, look for Too Close a CD featuring additional tracks by Bishop Perry Tillis recorded by Olsson. Also, Flyright issued additional recordings of Olsson's field work on vinyl back in the day . . . definitely worth looking for). -jeffkonkel

1. Lattie Murrell - When a Gal Cross the Bottom 3:26
2. Lum Guffin - Railroad Blues 4:03
3. Lattie Murrell - Spoonful 3:02
4. Lattie Murrell - Blues for Mattie Mae 3:07
5. Lum Guffin - Johnny Wilson 2:59
6. Lum Guffin - On the Road Again 1:38
7. Lincoln Jackson - Loping Blues 3:15
8. Perry Tillis - Kennedy Moan 2:27
9. Perry Tillis - Tell Me Why You Like Roosevelt 4:42
10. William Floyd Davis - Why Did I Have to Leave Cairo? 1:51
11. Ashley Thompson - Sweet Peace 1:45
12. Lattie Murrell - Good Morning Little Schoolgirl 2:51
13. Lum Guffin - Old Country Blues 3:25
14. Perry Tillis - Denomination Blues 4:46
15. Joe Townsend - Take Your Burdens to the Lord 2:12
16. Lum Guffin - Moaning and Groaning 4:20
17. Walter Miller - Stuttgart, Arkansas 5:20
18. Dewey Corley - Last Night 3:01
19. Walter Miller - Sherman's Blues 5:29
20. Dewey Corley - Fool's Blues 3:23
21. Walter Miller - Hop's Boogie 3:03
22. Othar Broadnax - Don't the Peaches Look Mellow 1:02
23. Sons & Daughters Of Zion, Chapter Nine - Sally Got a Big Le 2:24

Nigeria

Amazing collection of Disco Music released in the 80s (1980-84) on the Nigerian label Duomo Music Ltd. and reissued here for the first time.

Sweet grooves from the Duomo Sounds label – a short-lived Nigerian imprint who cut some mighty funky sounds at the start of the 80s. The title here uses the word "disco", but these cuts have none of the strings and polish of the sounds you'd hear at Studio 54 – as most numbers here are stripped-down and raw, really more in a clubbier take on the more famous Nigerian funk of a few years before. However, there's also a quality here that could easily cross over to the hipper clubs on the New York underground – as most of these guys are also using the same sort of small combo funk instrumentation of the best of the indie post-disco scene – which means that some tracks resonate with the work of labels like P&P, and others echo some of the more global currents that were showing up in New York funk during the period. Most lyrics are in English, which further gives these tracks a universal appeal.

In the late '70s, the thrust of mainstream music had changed from the indigenous highlife to a more international funky disco sound. Keyboards and drum machines were the key components of the new sound. The implications on sales was real as names like Bunny Mack, Chris Okotie, Christy Essien, and Jide Obi replaced Osita Osadebe and the Oriental Brothers on the charts. It was in this effervescent climate that Duomo Sounds Ltd was established by Humphrey Aniakor, a business man with no prior investment in the industry. It was simply the in-thing for a young affluent businessman. The name suggested European sophistication, modernity and a little abstraction. D U O M O Sounds, the kids loved it. The first release was Bassey Black's Someone To Love which sold over a 100,000 copies, a big hit at the time. The success of the album attracted several artists the most influential of which was Mike Umoh. He aimed for the pop market with accessible, funky arrangements. However his affinity for funk and disco has made him a reference for collectors worldwide. His LP entitled, Honey, Honey was the label's second release and his most successful album. He also produced the label's 19th release, Bindiga's No More Starvation, an Afro-boogie funk masterpiece. The album in its original format is very sought after by collectors and DJs and changes hands for huge sums. It's been described by many as cosmic funk at its finest. Christy Ogbah's disco soul/highlife records on Duomo are also very highly sought after. This new Livingstone Studio release presents the best of Duomo Sounds Ltd. for the first time. Features Christy Ogbah, Johnny O, Mike Umoh, Bindiga, Bassey Black and The Natty Messiah, Godfrey Odili, and Eunice Mokus Arimoku. Liner notes by Nigerian Music expert Uchenna Ikkone; Includes previously unpublished photos. 

1. Christy Ogbah - Advice 6:28
2. Johnny O. Bazz - Xmas Eve 4:35
3. Mike Umoh - Look At Me 5:26
4. Mike Umoh - Shake Your Body 6:19
5. Bindiga - Disco Connection 4:56
6. Christy Ogbah - Aimiuugwia 6:02
7. Bindiga - Perfect Disco Machine 5:12
8. Bassey Black & The Natty Messiah - On My Mind 5:40
9. Christy Ogbah - Azomonfe 9:29
10. Godfrey Odili - You Do Good For Yourself  8:00
11. Eunice Mokus Arimoku - Ariro 5:17

Brazil

The Definitive 1968 Classic Brazilian Album

Tropicália ou Panis et Circencis (Latin for Bread and circuses) is a 1968 collaboration album by artists including Gilberto Gil, Caetano Veloso, Tom Zé, Os Mutantes and Gal Costa. Considered an important record in the history of Brazilian music, it features arrangements by Rogerio Duprat and lyrical contributions from Torquato Neto. 

The main contributors can be seen on the album cover, which is intended to be a tribute to influential Beatles album Sgt. Pepper's Lonely Hearts Club Band. Seated on the floor, Gilberto Gil holds the graduation photo of Capinan. To the left, drinking from a chamber pot, is Rogério Duprat. To the right, Gal Costa, wearing a yellow dress, is beside Torquato Neto, with a cap. Caetano Veloso is to the left of them, holding a picture of Nara Leão. Behind them are Tom Zé, on the right, and Os Mutantes, on the left (more precisely, from left to right, Arnaldo Baptista, Rita Lee and Sérgio Dias).

'This is the definitive Tropicalia concept album, originally released in 1968 and featuring all the key players in the movement: Caetano Veloso, Gilberto Gil, Gal Costa, Os Mutantes, Tom Ze and Nara Leao. Here you will find the original, groundbreaking mix of psychedelic rock combined with with boleros, sambas, bossa nova and jazz into a carnival-esque parade which redefined and first announced the new global sound of Brazilian music. What is stunning is that this anarchic and groundbreaking release was recorded at the height of the Brazilian military dictatorship, during an era where censorship, repression and the threat of violence was a constant in all (musical and) daily life inside the country. Rolling Stone magazine in Brazil has voted this album no.2 in the 100 Best Brazilian albums of all-time. This classic album is Tropicália’s manifesto - a fantastical syncretic fusing of psychedelic rock & pop, Brazilian traditional music and the avant-garde.'

In May 1968, as Russian troops invaded Prague and French students and workers were building barricades in the streets, Caetano Veloso and Gilberto Gil went into the studio with Os Mutantes, Gal Costa, Tom Zé, poets Capinam and Torquato Neto and bossa nova sophisticate Nara Leão. The concept album, Tropicália: ou Panis et Circencis, released later that year, would be the most comprehensive artistic statement to come from the Tropicálists, with a magical mix of psychedelia, tango, bossa, twelve-tone music and military marches. Though only 38 minutes in length, it birthed enduring classics like “Bat Macumba” and “Panis Et Circensis,” and its experimentalist ambition was evident in everything from the Rogério Duarte-designed cover to the tropicálist movie script printed on the back of the record. That it was influenced by Sgt. Pepper, released the previous year, was obvious. The Beatles had shown that you could make art out of pop music, and the Tropicálists didn’t need a second invitation. Os Mutantes brought their sonic experimentalism to the record, while the horn and string arrangements of Rogerio Duprat have the hallmarks of George Martin’s sessions at Abbey Road. There were hints, for those who could see, about the degenerating situation in the country. The album’s title, Panis Et Circensis, or “bread and circuses,” was borrowed from Juvenal’s description of the Roman Republic, but it was an apt description of the troubled times. Even a track like “Baby,” sung by the kittenish Gal Costa, superficially a song about a young girl deliriously in love, was feeding the minds of the kids under a dictatorship with its lyrics, giving them the clues to understand their era – a point Tom Zé makes in Marcelo Machado’s comprehensive Tropicália documentary.

1. Gilberto Gil - Miserere Nóbis 3:44
2. Caetano Veloso - Coração Materno 4:17
3. Os Mutantes - Panis Et Circenses 3:35
4. Nara Leão - Lindonéia 2:16
5. Gilberto Gil, Caetano Veloso, Gal Costa E Os Mutantes - Parque Industrial 3:17
6. Gilberto Gil - Geléia Geral 3:42
7. Gal Costa E Gilberto Gil - Baby 3:32
8. Caetano Veloso E Gilberto Gil - Três Caravelas (Las Três Carabelas) 3:07
9. Caetano Veloso - Enquanto Seu Lobo Não Vem 2:32
10. Gal Costa - Mamãe, Coragem 2:31
11. Gilberto Gil - Bat Macumba 2:34
12. Caetano Veloso, Gilberto Gil, Gal Costa E Os Mutantes - Hino Do Senhor Do Bonfim 3:42
Bonus Tracks
13. Caetano Veloso, Os Mutantes - E' Proibido Proibir 5:41
14. Caetano Veloso, Os Mutantes - Anbiente De Festival 4:42
15. Caetano Veloso, Os Mutantes - A Voz Do Morto 2:55
16. Caetano Veloso, Os Mutantes - Baby 3:55
17. Caetano Veloso, Os Mutantes - Saudosismo 3:18
18. Caetano Veloso, Os Mutantes - Marcianita 3:11

Notes
Originally Released in April 1969. Comes with a booklet of liner notes in Japanese, and an insert of lyrics in Portugese, also in Japanese-translation.
Track 13: studio recording (mono) in 1968.
Track 14: recorded live (mono) in Sep, 1968.
Track 15 to 18: recorded live in 1968, released as EP in Nov, 1968.

Afro spiritual minimal electronic space music

Remarkable, transcendent new recordings by dextrous multi-instrumentalist Roland P. Young, his 4th LP for Japan's EM Records. Created in 2014 after a move to Tel Aviv, 'Confluences' marks a new phase in Young's oeuvre, with a title both signifying the cultural blend of his new home region, and his ability to naturally comprovise disparate musical influence and textures - clarinet, bass clarinet, kalimba, NAF flute, keyboard, voice and electronic accoutrements. Blending properly rugged but smartly reduced rhythms with pensile synthlines and minimal acoustic phrasing, it's possible to draw a clear line between this sound and the meld of early machine funk and new age memes in his 1980 LP, 'Isophonic Boogie Woogie' or 1987's 'Hearsay Evidence'. But what's really getting us is how fresh, yet out-of-time-and-place, this record sounds: opening pair 'Clutch' and 'Estimationism' feels like a synthesis of alien Afro-Jazz and 'Cichli Suite'-era Æ, while the dubbed-out industro drums and marimbas and celestial flutes of 'Late Afternoon Light' recall lysergic Finnish folk music, and 'The Light of Night' could almost be a premonition of the forthcoming Jamal Moss and Arkestra collaboration. It's a real thing of wonder. Warmest recommendations. -Boomkat 

The fourth release from Roland P. Young on EM Records sees him moving ever deeper, earthbound and rooted, yet simultaneously flying further out, expanding his exploration of untethered celestial realms. Recorded in 2014 following a move to Tel Aviv, the title Confluences hints at the blend of cultures and histories in his new homeland, and is reflected in the music, which shows a range of cultural influences, filtered through Young's unique sensibility and vision. This is a calm, spiritual set, evidencing an inner comfort that was less prevalent on his Brooklyn recordings. This is not to imply that RPY is no longer searching; this release brings to fruition the promise of earlier recordings such as Isophonic Boogie Woogie (EM 1045CD/HJ-LP) and Istet Serenade (EM 1087CD/LP), made complete via Young's multi-instrumental chops on sax, bass clarinet, kalimba, and keyboards working in tandem with his rhythm and bass programming skills, his multi-track studio mastery, and an ever-evolving sense of musical form and drama. The confluences of cultures are of course swirling throughout this release, but also the confluences, as noted above, of the earthy and the celestial, as well as the temporal confluences of the past, present, and future. Perhaps more than any of his previous releases, Confluences realizes Young's description of his own work as "Afro spiritual minimal electronic space music." Available on CD and LP, this release is the next stage of Roland P. Young's never-ending voyage. Get on board! -forcedexposure

1. Clutch 4:05
2. Estimationism 4:39
3. Late Afternoon Light 5:38
4. Moon & Stars 5:32
5. Parenthetically 3:13
6. Three Olives 4:46
7. The Light Of Night 5:18
8. Voices 4:41

Notes
All comprovisations composed and performed by [...] for clarinet, bass clarinet, kalimba, NAF flute, keyboard, voice and electronic accoutrements [misspelled as "accutrements"]. Recorded at the Isophonic Sound Laboratory. Dedicated to my family, my fans and especially to my wife Risa Young. All thanks to the One

Congo

‘tradition meets fuzzbox Congotronics’

This album doubles as the soundtrack to a new film from Alain Gomis, a Kinshasa-set fiction spun around the Congolese collective.

The music is collaged with snippets of dialogue and found street sound — and, intriguingly, with settings of Arvo Pärt performed by the Orchestre Symphonique Kimbanguiste.

The best of the new Kasai Allstars songs, notably “Kapinga Yamba”, are energetic updates of their hypnotic traditional buzz of distorted instruments and off-centre beats, while “Tshitua Fuila Mbuloba” is an acapella circular knot. Their old favourite “Quick As White” still saunters.

Film-maker Alain Gomis’s award-winning feature Félicité is a portrait of Kinshasa’s vibrant music scene told through Félicité, a single mother struggling to make it as a bar singer. It presumably helps that her backing band is played by the Kasai Allstars, the city’s most famous and inventive outfit, and that her vocal parts come from the group’s lead singer, Muambuyi. The soundtrack is a showcase for the Allstars’ dazzling mix of tradition and fuzzbox “Congotronics”, though it also features lovely orchestral pieces by Estonia’s Arvo Pärt, arranged by Kinshasa’s Orchestre Symphonique Kimbanguiste, while for the group’s substantial hipster following comes a bonus CD of edgy remixes. A winning package. -Neil Spencer

Deeply impressed by the music of Congolese collective Kasai Allstars, French-Senegalese director Alain Gomis drew inspiration from their music, and from the voice and character of their singer Muambuyi to write and direct his new fiction movie, entitled "Félicité". The film's eponymous protagonist is a proud, free-willed woman who sets out on a breakneck race through the streets of electric Kinshasa to save her son. Her profession: singer with Kasai Allstars! "Félicité" was presented in competition at the Berlin International Film Festival 2017, where it obtained the Silver Bear Grand Jury Prize. 

The band wrote and performed most of the soundtrack, and appears onscreen playing their own part. Muambuyi's voice is omnipresent, and is being heard everytime Félicité (played by Congolese actress Vero Tshanda) sings in the bars of Kinshasa, backed by Kasai Allstars.

The "Around Félicité" album includes the film's main pieces, performed by Kasai Allstars and by the Kinshasa Symphonic Orchestra (who specially arranged three works by Estonian composer Arvo Pärt), alongside new tracks by Kasai Allstars, as well as interludes consisting of fragments of dialogues and sound bites taken from the soundtrack.

Disc 1
1. Kasai Allstars - Tshalemba 5:12
2. Kasai Allstars - In Praise Of Homeboys 3:34
3. Kasai Allstars - Kapinga Yamba 5:44
4. Orchestre Symphonique Kimbanguiste plays Arvo Pärt - Sieben Magnificat-Antiphonen, O Immanuel 4:50
5. Kasai Allstars - Lobelela 5:36
6. Kasai Allstars - Tshitua Fuila Mbuloba 6:52
7. Kasai Allstars - Bilonda 5:20
8. Orchestre Symphonique Kimbanguiste plays Arvo Pärt - My Heart's In Highlands 6:43
9. Kasai Allstars - Mabela 12:48
10. Kasai Allstars - Quick As White 7:06
11. Orchestre Symphonique Kimbanguiste plays Arvo Pärt - Fratres 10:41

Disc 2
1. RAMZi - Quick As White 4:29
2. High Wolf - Félicité One 4:40
3. Daedelus - Drowning Goat 3:49
4. Africaine 808 - In Praise Of Homeboys 5:43
5. Ekiti Sound System - Salute To Kalombo 3:43
6. Clap! Clap! - Quick As White 3:41
7. Loopido - Tshitua Fuila Mbuloba 3:38
8. Mo4n4 - Félicité Two 6:32
9. Esa - Drowning Goat 6:03
10. RAMZi - Félicité Three 3:42

Florida

Super rare funk album released on smithsonian folkways in the early 1970s.

“My whole life, I heard music in the air, beautiful music. I’ve been involved in supernatural things, spoken with spirits. I have heard an orchestra up in the air. I know I’ve heard it.”
—Paul Montgomery

Funk’s answer to the Five Blind Boys of Alabama, Florida’s Montgomery Express stood at the crossroads of politically conscious soul and mystically awakened dance music. Comprised of two blind musicians in their 20s and a teenage rhythm section, their lone LP was cut in 1972 for Orlando’s Dove label, then reissued on Folkways two years later. Although the label usually steered clear of soul music and anything remotely commercial sounding, Montgomery Express tapped into Folkways’ Guthrie-cum-Chambers Brothers nerve. -Numero Group

The performers on this 1974 homegrown classic are two blind vocalists in their 20s and several teenage “groovemasters” from Indiantown, Florida. Directed by Mr. Sandy Montgomery and known as The Montgomery Express, the group delivers rousing funk performances and sweet R&B numbers. They played together for less than two years but, as the final track says, “Left Me with a Memory”! -Folkways

1. Montgomery Movement 4:47
2. Who 2:56
3. Steal Away 2:43
4. Precious Wing 3:36
5. Party Fever 5:21
6. I'm Standing By 2:35
7. Gotta Make a Comeback 4:10
8. Left Me With a Memory 3:13

Dakar to Cuba

Twelve of the greatest African rumbas, compiled to illuminate the roots of Latin rumba and salsa in African rhythms.

Rumba and salsa, despite subsequently being modified by Latin influences, are both based originally on African rhythms brought across the Atlantic with the slave-trade. When the first West African nations obtained independance many musicians travelled again across the ocean to Cuba re-creating these dances of Liberation for one and all. We have selected for this landmark compilation the twelve greatest african rumbas including two unreleased songs.

Malik Sidibe's best known photo of West African Club Dancers (circa 60s-70s)
This CD has one of the best cross sections of African Rumba and Salsa on it. The Baobab track on there is a killer: “Mana Dem” it’s called (We Are In Vogue) from ‘75 – it’s hard core, very driving – heavy bass, sinuous fuzzy wah-ed out guitar, mesmerizing choruses, the whole thing percolating along like an African train through the steamy jungle. There’s an emphasis on the guitar in all these recordings that, combined with the repetition and lo-fi sound, makes for a feel that is sometimes almost D.I.Y. punk. But the interlocking poly-rhythms of Baobab are at once more sexy and slower – the closest rock equivalent would be the Velvet Underground, with the droning double rhythm guitar attack of Sterling Morrison and Lou Reed always propelled by the rock-steady clocking drum beats of Mo Tucker. Small wonder that Reed hated the cymbals and forbade Tucker to use them; for Mo, it was no big deal jetisoning rock's tinny time keepers; she had learned to bash the tom toms from those same beautiful Olatunji records that turned on Carlos Santana and my dad back in the day..

..Returning to the previously mentioned “From Dakar to Cuba – Swinging to the Rumba,” I found that while the collection really captures a lot of the magic of that time covered in "Rumba On The River," it casts a wider net by venturing on into the 70s and beyond as well, and more importantly, the CD travels to other countries influenced by what was happening in the twin cities on the Congo. So, in addition to the requisite Congolese jams, the collection also sports the seminal Senegalese mega-group Star Band de Dakar’s version of the 50s son-pregon “Caramelos,” made famous by Celia Cruz and Sonora Matancera, but this time it gets the sax and guitar treatment of the Congo, and manages to swing mightily. I even love the phonetically pronounced Spanish; half the lyrics to Cuban and Puerto-Rican music are of African origin anyway! The fact that some of this proto-African salsa came from Mali and Senegal, many miles from Kinshasa or Brazzaville, speaks not only for the universal allure of Afro-Cuban music in the Motherland, but also to the fact that many Africans were feeling a burgeoning pan-African consciousness at the time. When you look at the incredible photos of Senegalese music lovers in the 70s taken by the genius photographer Malick Sidibé, you see how the West African disco dancers and record collectors back in the day loved Orquesta Aragon, Johnny Pacheco, Fajardo, Orquesta Broadway, and Monguito “El Unico” – you might say that the charanga (a Cuban flute and violin orchestra) was en vogue in Senegal and Mali. Along side the obvious African records and James Brown, Jimi Hendrix, and Sly Stone LPs, you also see the Fania, Tico, and Alegre albums that were also popular at the time in New York, San Juan, and Cali, Colombia. -djbongohead

1. Bembeya Jazz - Guantanamera 3:55
2. Grand Kalle - Independence Chacha 3:04
3. Africando - Dacefo 3:49
4. Les Bantous De La Capitale - Meyeya 9:19
5. Laba Sosseh - Recordando A Noro Morales 5:01
6. Franco - Ok Aswanka Tempo Na 4:09
7. Keletigui - Guaquanco A Todos Los Barrios 4:38
8. Rochereau - Calabasso 3:57
9. Star Band de Dakar - Caramelo 5:04
10. Rocka Mambo - Maria Valenta 2:55
11. Orchestra Boabab - Mana Den 7:03
12. Nico - Sasaonando 3:02

Note
Incl. booklet

Brazil

This 1968 album by Pedro Santos makes the listener smile immediately with an opening volley of irresistible rhythm and brass fanfare. From there onwards, Krishnanda travels through some of the funkiest Brazilian music you ever heard, all with a definite psychedelic flavour. This joyous album is super-rare, but now Mr Bongo have reissued it!

Digitally remastered edition of this 1968 release. Krishnanda is an album in the truest sense of the word - a spiritual, psychedelic Brazilian masterpiece from start to finish - celebrated by everyone from Seu Jorge and Kassin to Floating Points, Madlib and DJ Nuts. These days, originals change hands for thousands of dollars. Pedro dos Santos, born in Rio in 1919, was a percussionist virtuoso, composer and inventor of instruments that apparently included oddities such as the 'Tamba' (electrified bamboo drum) and the mouth berimbau whistle. Nicknamed Perdo 'Sorongo' after the rhythm he invented, which features throughout 'Krishnanda'. A highly spiritual man who was regarded as a philosopher by many. He worked with greats including Baden Powell, Elis Regina, Maria Bethany, Elza Soares, Sebastião Tapajós, Roberto Ribeiro, Milton Nascimento, Clara Nunes, Paul Simon and Arthur Verocai, playing on his legendary self-titled LP. In the same vein as Verocai and his self-titled LP, 'Krishnanda' was Pedro's chance to shine with his own, and only, solo recording. Krishnanda was produced by Hélcio Milito, the drummer of Tamba Trio, and arranged by conductor Joppa Lins, and originally released in 1968 on CBS (Brasil). Musically, the album touches folk, samba, afro-brazilian and psychedelia plus added effects, with a lyrical depth and diversity to match; themes including morality, perception, existence and ego.

Despite the genius of the record and the influence that it had on musicians at the time of release, it disappeared into obscurity. We first discovered the record around 2003, through a friend Julio Dui. Around that time Brazilian funk and bossa was the flavour of the day, so didn’t catch our ear immediately, however it continued improve with age and now we consider it to be one of the best albums ever made, regardless of genre or origin. -Mr Bongo

1. Ritual Negro 2:01
2. Água Viva 2:03
3. Um Só 2:07
4. Sem Sombra 3:09
5. Savana 2:51
6. Advertência 3:01
7. Quem Sou Eu? 2:32
8. Flor de Lotus 3:08
9. Dentro da Selva 2:17
10. Desengano da Vista 2:43
11. Dual 2:58
12. Arabindu 2:00

Bay Area

After years of clandestinely circulated low-res MP3s and Youtube repeats TJ Hustler is finally available!

Age Of Individualism is a prescient and idiosyncratic vision that was originally released in 1979 in a tiny handmade edition by TJ Huslter himself. It's an existential electronic odyssey that was conceived as a one man puppet show. This is "No BS" futurism, an antidote to the dark Age Of Individualism that plagues these modern times. TJ's words are as true today as they were in 1979, and the music is lightyears ahead, as much of a flash-forward as Charanjit Singh's acid house ragas. One of the biggest rediscoveries in recent memory, and done to perfection, wonderfully restored and housed in a thick 70's style tip-on jacket. 

Our Review:

T.J. Hustler Metaphysical Synthesized Orchestra is the work of one Tim Jones, a Bay Area soul and funk scene veteran who had previously released two 45s in the early '70s as part of the group Dawn And Sunset and an LP in 1975 as leader of The Mysterious Minds. Though Jones plays a keyboard instrument of his own creation (The Brass Orchestra Cabinet) on The Mysterious Minds LP, none of his previous work could possibly predict the visionary brilliance that is 1979's Age Of Individualism. A concept album performed entirely by Jones and his ventriloquist dummy partner, the titular T.J. Hustler. Age of Individualism is part party record, part philosophical manifesto, part self-actualization workshop, part comedy routine.

Originally released as a double 12" (one at 33 rpm, one at 45) Age Of Individualism is 4 side long tracks of lo-fi synthesizer and drum machine funk that rival anything on the now legendary Personal Space compilation of electronic soul. We're hesitant to label T.J. Hustler as outsider music because, while the record is extremely personal in its creation and vision, Jones performed regularly with his ventriloquist dummy in a traveling show at the time, and continues to perform live bookings to this day. The original packaging of Age Of Individualism was two cardboard covers bound together by a length of yarn, the idea being that this was the first volume of his personal statement and there would be many more volumes released which you would be able to house in the same package by loosening the yarn and widening the spine. While Jones only released this lone document on vinyl, he has continued making music under the Preacherman moniker and has released keyboard instructional videos, all of which is highly recommended. On Preacherman's CD Baby page it says "Recommended if you like: Fairytale Rap, Philosophy Funk, Sun Ra Dianetics" and that sounds about right to us.

Age Of Individualism has been lovingly reissued by our friends at Companion Records, so you know that the utmost care has been put into the sound quality and packaging. Released in a limited edition of 500 copies, this probably won't last long.

We are thrilled to offer the first and only licensed reissue of this rare 1979 two disc set rescued from obscurity by Chris Veltri (Groove Merchant Records, SF) back in 2004. Few have heard it till now. T.J. recorded these four tracks in the South Bay, solo-style after stints in Bay Area bands The Mysterious Minds and Dawn & The Sunsets. He continues to tour and record to this day and yes, he is available for bookings :)

This release contains two 12 inch discs with four side-long tracks housed in a beautiful '70s style matte tip-on gatefold jacket. Disc one plays at 33 1/3 rpm and disc two at 45 rpm. A download card is included. The set is HEAVY (unfortunately overseas shipping is expensive.) Much thanks and appreciation to Josh Davis for lending his pristine copy for this reissue, one of only a handful known to exist.


Condition: NM (ripped on first play)
a mantis rip.

1. The Individual You 13:43
2. T.J.'s Disco Philosophy 15:37
3. Foxy Lady 9:44
4. Cycle Of Life 10:11

Notes
Reissue by Companion Records 
Limited Edition of 500

Brazil

Greg Caz and Deano Sounds have teamed to compile this fine package of vintage Brazilian music. Included are tracks across the scope of funk, soul, and psychedelic music from Brazil. Highlights include the extremely rare and funky “Labirinto” by 2001 & Beto, the blistering psychedelic funk of Antonio Carlos & Jocafi’s “Quem Vem La,” the essential rare groove track “Bananeira” by Emilio Santiago, Osmar Milito E Quarteto Forma’s rare “America Latina” sampled by Madlib, Tom Ze’s unstoppable riff on “Jimmy, Renda-Se,” and many others.

Here are some words on the project from co-compiler and Brazilian music aficionado, Greg Caz: 'Without necessarily having a central theme other than funky nuggets from the first half of the 70s, we believe this compilation displays its own particular sense of logic, and that these songs ultimately all sound fantastic together. Regardless of one's familiarity, or lack thereof, with artists like Antonio Carlos & Jocafi, Os Incríveis, Toni Tornado or Celia, the material on these 45s speaks its own truth and justifies their inclusion here. Many of these were originally available as singles, while others were taken from albums, but all are guaranteed to find their way into many DJ boxes and playlists.' 

Think of psychedelic funk, put in some soul and place it in early 70s Brazil. That is exactly what awaits you from The Brasileiro Treasure Box of Funk and Soul. Released by Boston-based label Cultures of Soul, the album is an unusual vintage compilation of Brazilian jazz-funk, not least recognized by the psychedelic album cover featuring Rio’s Cristo Redentor in an explosion of colours. Many of the tracks are rare, such as “Labirinto” by 2001 and Beto and Emilio Santiago’s “Bananeira”. They embody the essence of early 70s Brazilian samba-jazz and were very influential in forming the sounds of bossa nova musicians such as Jorge Ben. Tom Zé’s incredible endless guitar riffs in “Jimmy, Renda-se” add the psychedelic touch. Celia, a musical star of the early ’70s, is the only woman featured on the album with her track “A Hora é Essa”, a very light and playful soul performance with a slight vocal hint of Elis Regina. Tony Tornado, a renowned Brazilian dealer turned singer and actor, is the only artist featured twice, and rightly so. His incredibly funky “Bochechuda” in which he laughs wildly throughout is probably the highpoint of the album. His other track “Aposta” is a classic Brazilian funk, reminiscent of some of legendary Raul Seixas’ music. Brazilian soul-funk is big, especially the one from the glorious ’70s, and this album brings you right into the action. -by Jacob Lassar

1. Antonio Carlos & Jocafi - Quem Vem Lá 2:46
2. Os Incríveis - Paz E Amor 3:18
3. Toni Tornado - Bochechuda 1:54
4. Toni Tornado - Aposta 2:18
5. Emilio Santiago - Bananeira 2:51
6. Osmar Milito E Quarteto Forma - América Latina 2:45
7. 2001 & Beto - Labirinto 1:54
8. Trio Mocotó - Swinga Sambaby 1:33
9. Tom Zé - Jimmy, Renda-se 3:39
10. Eduardo Araujo - Kizumbau 3:47
11. Célia - A Hora é Essa 3:03
12. Franco - Ei, Você, Psiu! 2:35
13. Novos Baianos - Juventude Sexta E Sábado 2:55
14. Dom Salvador e Aboliçao - Uma Vida 2:45

Senegal

''Seck's voice is beautiful rather than pretty, it creates a commandingly dignified presence'' -Richard Scott in The Wire.

Dust and dry wood - one minute parched, desolate, empty, the next peopled with improbable vocal harmonies and generous layers of kora and ngoni, the music of Mansour Seck reaps the maximum effect from its slow-burning dramas.

Mansour Seck's first solo album, N'der Fouta Tooro, Volume 1 (STCD 1061), released late in 1994, was a resounding success. The man who had always been in the shadow of Baaba Maal was finding, with the active encouragement of his mentor, not only his own feet but his own audience. Mansour, however, has stayed on as the linchpin of Dande Lenol, the band he created with Baaba in the early eighties, throughout 1995. They toured Africa, North America and Europe extensively during the year with Baaba presenting Mansour and his solo recording on stage. 

Late in 1995, Mansour felt ready for his first solo tour in Europe and it was time to release N'der Fouta Tooro, Volume 2. This session was recorded in the same studio in Dakar and with the same musicians as on the first volume which means that none of the intensity of the previous release has been lost here. He has, however, grown in confidence and the collaboration with his old friend from Mauritania, the singer Ousmane Hamady Diop, shows a new found maturity. -liner notes

A friend of mine at the writing factory where I work is a blues aficionado. So I thought that Mansour Seck's N'der Fouta Tooro, Vol. 2 (Sterns Africa) might penetrate his antipathy for African music, since I hear blues all over the thing. But one's man bridge is another man's brick wall. Where I hear both the verbal cadences of blues and a dry electric guitar squarely in the blues spirit, my cell mate winced at foreignisms that never sparked the gap. This surprised me, because if any music breaks the language barrier, it's the combination of unsettled rhythms and urgent vocal performances of Senegalese composer/guitarist Seck and his collaborator from Mauritania, Ousmane Hamady Diop. This is, in fact, one of the most transparent cds I've ever heard, extremely direct in its passion to communicate and one of the rare non-English releases heavily weighted toward vocals that doesn't cry out for a lyric sheet.

The heartfelt nature of these songs almost makes me embarrassed for the hours I've spent grinning foolishly at "Do You Like Worms?" But though Fouta avoids the obsessive strategies that partially devoured Wilson (recreational substances did the rest), there's no mistaking its folk ambiance as anything but carefully concepted. Seck and Diop manage to convey an attitude of pre-modernity in spite of the gripping electric guitar and bass and an enthusiastic nod to western song forms through a half-buried pure pop backbone. Apart from the intensity of the vocals, Fouta stays balanced in tradition's lap using needle sharp layers of kora and ngoni and an overriding astringency that gives its beauties the sting of rubbing alcohol on raw skin. Though its flayed quality means Fouta isn't on my early morning play list, much fun awaits in "Soukanaba," a walking griot blues reminiscent of Ali Farka Toure, and my favorite cut, "Afrique Ne," which comes off as rockabilly mbalax. Plus, in moments of ennui, I always find it handy to have an emotional socket to plug into for a fast recharge. -Bob Tarte

Mansour Seck is a blind Senegalese singer and musician born in Podor, in the north of the country. Best known for his collaboration with lifelong friend Baaba Maal, he has also toured and released several solo albums.

Seck was born into the Griot caste, traditionally of low status and associated with singing, story telling and playing musical instruments. From childhood, Seck has been a close friend of Baaba Maal, and in 1977 the two musicians travelled to explore the musical traditions of Mauritania and Mali.

Maal went to study Music in Dakar, and in 1982, he received a scholarship to study at the École des Beaux-Arts in Paris. Once established there Maal invited Seck and two other musicians to join him. They formed a band which became known as Dande Lenol (The People's Voice) and played mainly to the Senegalese immigrant communities of Paris. The album "Djaam Leeli" (1984) is from this early time together. As their confidence grew, they toured in the US together with Seck's first solo release coming in 1994.

Mansour Seck played alongside Baaba Maal as part of Dande Lenol at the WOMAD Festival at Charlton Park on 29 July 2007.

1. Diewo (Lead Vocals: Ousmane Hamady Diop) 5:04
2. Poullori (Lead Vocals: Mansour Seck) 4:26
3. Soukanaba (Lead Vocals: Mansour Seck) 5:05
4. Afrique Ne (Lead Vocals: Ousmane Hamady Diop) 3:50
5. Tandibiya (Lead Vocals: Mansour Seck) 4:57
6. Samba (Lead Vocals: Ousmane Hamady Diop) 4:51
7. Mamadou Moussa (Lead Vocals: Mansour Seck) 3:54
8. Sediegue (Lead Vocals: Ousmane Hamady Diop) 5:57

Boston

A vast dive into the vaults from Now-Again unearths a high point in free improv and spiritual jazz. With significant political leanings and an clear influence from the almost divine grace of Sun Ra and Pharoah Sanders, it's a colourful and ever changing affair, completed with World's Experience Orchestra's sublime 'The Prayer'.

The 70s Boston underground brought twin brothers Phill Musra and Michael Cosmic together with Turkish-born drummer Hüseyin Ertunç; as a trio, and with other Boston jazzers (John Jamyll Jones of Worlds Experience Orchestra), the twins each privately issued an album. Potent mixes of spirituality, expressionist fire and electrified newness, these rare LPs are mastered from the original tapes.

An amazing package – a pair of rare avant jazz albums, presented here together. The first album is Peace In The World – maybe the only album issued under the name of Michael Cosmic – but a set that's part of a key legacy with his brother, reedman Phill Musra. The set has Cosmic in very heady territory – sounds that come from his young tenure in the AACM, his brief time with Cecil Taylor, and his budding reputation on the 70s Boston scene – where the set was recorded, and almost stands as a precursor to the rich legacy of improvisational jazz that would emerge on the New England scene for decades to come. Tracks are long and very free, but have spiritual currents too – and Cosmic is mostly on piano, with Musra on soprano sax and tenor, Leonard Brown on soprano and tenor, John Jamyll Jones on bass, Huseyin Ertunc on drums, and Eric Jackson on percussion. Titles include "We Love You Malcolm X", "Peace In The World", "Sapce On Space", and "Arabia". Next is the related album Creator Spaces, by Phill Musra – recorded at the time when he was part of the very underground Boston avant scene – a world that had a slightly different vibe than music coming from Chicago, Detroit, or New York. The album's got a spiritual avant bent – soulful at the core, with lots of references to outer space as well – and an approach that feels a lot like a classic Saturn Records session by Sun Ra, both in sound and spirit. Musra plays reeds, chimes, and percussion – and the group features some incredible sax work by Michael Cosmic, who also plays a bit of organ, again in a tripped-out, Ra-type way. Huseyin Ertunc plays percussion – very free and loose, in ways that are a great balance to the more angular lines of the reeds – and tracks include "The Creator Is So Far Out", "The Creator Spaces", "Egypt", and "Arabia". 

1-1 Michael Cosmic - Arabia 21:30
1-2 Michael Cosmic - We Love You Malcolm X 8:09
1-3 Michael Cosmic - Space On Space 21:46
1-4 Michael Cosmic - Peace In The World 4:50

2-1 Phill Musra Group - Egypt 11:18
2-2 Phill Musra Group - Arabia 9:17
2-3 Phill Musra Group - The Creator Is So Far Out 6:59
2-4 Phill Musra Group - The Creator Spaces 10:30
2-5 Phill Musra Group - The Creator Is So Far Out (Unreleased Version) 9:22
2-6 Phill Musra Group - Phyllis 8:41

3-1 World's Experience Orchestra - The Prayer (Live, 1972) 20:23

Notes
Tracks 1- to 1-4 recorded December 6, 1974 at Music Designers, Boston, MA.
Tracks 2-1 to 2-4 recorded in 1974 in Cambridge, MA.
Tracks 2-5 and 2-6 recorded in Boston and New York circa 1974.
Track 3-1 recorded at Old West Church, Boston, in early 1972.

Tracks 1-1 to 1-4 previously released as Peace In The World.
Tracks 2-1 to 2-4 previously released as Creator Spaces.
Tracks 2-5, 2-6 and 3-1 previously unreleased.

Brazil

Brazilian holy grail

A masterpiece of Brazilian jazz samba, it’s a record that has gained cult status in the last twenty years, whispered first in hip-hip circles, before infiltrating a wider musical consciousness, enchanted by Verocai’s shimmering compositions and the equally legendary value of the original Continental pressing, which has famously sold for upwards of £2,000 on Discogs. The 29 minute masterpiece, perfect in it's arrangement and fusion of sonics, epitomizes the sound of Brazil at the time; strings, guitars, pianos, break beats, bass-lines, synthesizers, vocals from the wonderful Célia and percussion from Pedro Santos. Bossa nova, samba, jazz, MPB, psychedelics and funk sit side by side effortlessly. The album transcends the genre of Brazilian music, and in fact all genres.

In 1972 a repressive Brazilian military dictatorship frowned on artistic impression that might influence the youth of the country. However, producer, arranger and guitar player Arthur Verocai released a self-titled album on Brazilian based Continental Records that challenged the musical conventions of the day. His subtle protest experimented with new musical directions, and used figurative language to sneak under the censorship radar. In 2003 Luv N'Haight records re-issued this rare release, which subsequently went out of print. Now in 2010 the name of Arthur Verocai is beginning to get wider recognition, and the album has been once again re-issued.

Verocai will appeal to fans of the folksy soul and lo-fi electronic experimentations of American artists like Shuggie Otis or the orchestration of producer Charles Stepney. Closest Brazilian comparisons would be to Tim Maia and Jorge Ben. This unique recording has a touch of folk, more than a hint of funk, jazz style soloing, amazing 20 piece string arrangements, blending of electronics and keyboards with organic sounds, and superb soundtrack style music. ''I used to listen to Blood Sweat and Tears, Chicago, Stan Kenton, Wes Montgomery, Jimmy Web, Frank Zappa, Herbie Hancock, Bill Evans and Miles Davis, Milton Nascimento, Bossa Nova, among others,'' explains Arthur Verocai. ''In Brazil we had many musical influences, and by that time there wasn't a hegemonic one in the market. In this way my album reflected a search and musical experimentation. I was in an adventurous mood on this album and that led me to explore new melodic, harmonic and rhythmic paths.''

AllMusic Review by Jason Ankeny
Arthur Verocai's long-lost solo LP straddles the continents to fuse Brazilian tropicalia with American funk, yielding a shimmering, dreamlike mosaic of sound that both celebrates and advances the creative spirit. Employing a dizzyingly lush 20-piece string section, stiletto-sharp bursts of brass, and electric piano melodies that twinkle like stars, Verocai's heady productions draw on folk, jazz, and pop traditions from both sides of the equator to make music that is both immediately familiar and quite unlike anything else you've ever experienced. While its sun-kissed arrangements and insistent rhythms clearly evoke its Brazilian origins, Arthur Verocai nevertheless seems to exist somewhere far outside of space and time.

“I could listen to the album everyday for the rest of my life” – Madlib.

In 1972 a repressive Brazilian military dictatorship frowned on artistic impression that might influence the youth of the country. However, producer, arranger and guitar player Verocai recorded and released a self-titled album on Brazilian-based Continental that challenged the musical conventions of the day. His subtle protest experimented with new musical directions, and used figurative language to sneak under the censorship radar.

Before his solo album, Verocai had produced the Ivan Lins 1971 album Agora, influenced heavily by the sound of North American soul, and had contributed string arrangements to Jorge Ben releases.

He says, “I also produced two albums by a singer named Célia for Continental and the president of the company was delighted with the results. He invited me to produce an album using my own compositions and I agreed as long as I was able to choose the musicians to perform with me. All the strings sessions featured 12 violins, 4 violas and 4 cellos, always with one or two percussionists. The idea of mixing strings with contemporary sounds came from my desire of searching for new paths. I think this album was very rich in terms of both quantity and quality of musicians.”

Musicians included Brazilian legends like Robertinho Silva, Pascoal Meireles, Luiz Alves, Paulo Moura, Edson Maciel, Oberdan Magalhães (Banda Black Rio), Nivaldo Ornelas (Milton Nascimento band) and Toninho Horta.

Arthur Verocai was born in Rio de Janeiro, Brazil on 17/6/1945. In 1966 Leny Andrade included his song “Olhando o Mar” (“Looking at the Sea”) on her We Are There album. Two years later Verocai participated in Musicanossa an event that brought together composers, musicians and singers in presentations to play live in the Santa Rosa Theater in Rio de Janeiro, for which he wrote his first arrangements.

By 1968 his main gig was working in Civil Engineering in Rio de Janeiro. He still managed to perform and participate as a composer at many of Brazils famous Festivals of Music. In 1969 Verocai began his professional career as musician and arranger. He scored the music for the theater show Is The Greater, and wrote his first arrangements for orchestra. He arranged records by Jorge Benjor, Elizeth Cardoso, Gal Costa, Quarteto em Cy, MPB 4, Célia, Guilherme Lamounier, Marcos Valle, and others. His music also appeared in the musical The Life of Braguinha, alongside Elizeth Cardoso, Quarteto em Cy, MPB4 and Sidney Magal. By 1970 he was writing for other groups and regularly composing music for multiple TV shows and incidental music for TV series.

1. Caboclo 2:52
2. Pelas Sombras 2:16
3. Sylvia 3:02
4. Presente Grego 2:32
5. Dedicada a Ela 3:33
6. Seriado 1:45
7. Na Boca Do Sol 2:54
8. Velho Parente 2:20
9. O Mapa 2:42
10. Karina (Domingo No Grajau) 5:16

Spain

The De Lucía brothers were "Los Chiquitos de Algeciras" in that first part of their artistic career in the 1960's, making numerous recordings for the Hispavox label.

If the appearance in 1963 of the album 'Los Chiquitos de Algeciras' was a pleasant surprise received with enthusiasm by all the flamenco critics, we thought that no less should happen with its reissue today. This is the first recordings of Pepe (great cantaor) and Paco de Lucía (genius of the guitar). Absolute respect for tradition and tribute to their elders (Chacón, El Mellizo ...) are reflected in each and every one of the 12 songs on the album, which are interpreted impeccably.

Paco de Lucía was to the flamenco guitar what Segovia was to the classical guitar, Ravi Shankar to the sitar and Yehudi Menuhin to the violin, the undisputed maestro of his instrument whose virtuoso playing created the yardstick by which all others were judged.

Paco de Lucia was born Francisco Gustavo Sánchez Gomes on December 21, 1947 in Algeciras, Southern Spain. He was the youngest of the five children of flamenco guitarist Antonio Sánchez Pecino and Portuguese mother Lúcia Gomes; his brothers include flamenco singer Pepe de Lucía and flamenco guitarist Ramón de Algeciras (deceased).

Playing in the streets as a young boy, there were many Pacos and Pablos in Algeciras, and as he wanted to honor his Portuguese mother Lucia Gomes, he adopted the stage name Paco de Lucía. In 1958, at age 11, Paco made his first public appearance on Radio Algeciras.

His father Antonio received guitar lessons from the hand of a cousin of Melchor de Marchena: Manuel Fernández (aka Titi de Marchena), a guitarist who arrived in Algeciras in the 1920s and established a school there. Antonio introduced Paco to the guitar at a young age and was extremely strict in his upbringing from the age of 5, forcing him to practice up to 12 hours a day, every day, to ensure that he could find success as a professional musician.

At one point, his father took him out of school to concentrate solely on his guitar development. In a 2012 interview de Lucía stated that, “I learned the guitar like a child learns to speak.”

Flamenco guitarist and biographer Donn Pohren and record producer José Torregrosa compared Paco’s relationship with his father to the relationship of Wolfgang Amadeus Mozart and Leopold Mozart in the way both fathers “moulded their sons” into becoming world-class musicians, and both continued to dictate even after they became famous.

Paco’s brother Ramón idolized Niño Ricardo, and taught his complex falsetas to his young brother, who would learn them with relative ease and change them to his own liking and embellish them. This angered Ramón initially who considered Ricardo’s works to be sacred and thought his brother was showing off, but he soon began to immensely respect his brother and came to realize that he was a prodigious talent and a fuera de serie, a special person. Like his brother, Ricardo was Paco’s most important influence, and his first guitar hero; Paco said “all of us youngsters would look up to him, trying to learn from him and copy him.”

In 1958, at age 11, Paco made his first public appearance on Radio Algeciras. That year, he met Sabicas for the first time in Malaga. A year later, he was awarded a special prize at the Festival Concurso International Flamenco de Jerez de la Frontera flamenco competition. A year later, he was awarded a special prize at the Festival Concurso International Flamenco de Jerez de la Frontera flamenco competition.

At the age of 14, he made his first record with his brother Pepe, “Los Chiquitos de Algeciras”/Kids of Algeciras and in the early 1960s, he toured with the flamenco troupe of dancer José Greco.

Then in New York City in 1963, at the age of 15, he had his second encounter with Sabicas and his first encounter with Mario Escudero, both of whom became his mentors and later close friends.

The 60s and 70s were a period that Paco deLucia introduced the world to flamenco and he recorded with singers and his brothers may albums that found more and more appreciation. He was encouraged and managed to take the old Spanish art form into new and fascinating directions, increasing his popularity as one of the great guitarists of all time.

1. Hasta la Fe de Bautismo (soleares de Cadiz) 4:20
2. Llorando gotas de sangre (Tientos de Cadiz) 3:58
3. Mira lo que te he "comprao" (Tarantas) 5:11
4. Que grande el castigo (Seguiriyas de Manuel Torres) 5:51
5. Ya no le temo a la muerte (Soleares de Alcala) 4:58
6. Que blancas canas te peinas (Malagueñas del Mellizo) 4:10
7. Si ahora tu no te arrepentias (Soleares viejas de Triana) 3:38
8. Un pastor en la sierra (Serranas) 5:01
9. Le estoy pidiendo a la virgen (Tientos de Chacón) 4:17
10. A buscar la flor (Malageñas de Chacón) 4:21
11. Tu no debes de tener celos (Debla, martinete y toná) 3:25
12. A clavito y a canela (Siguiriyas de Chacón) 4:18

Brazil

Musica brasileira sempre! obra de arte!

Azimuth was the blueprint for the band's own 'samba doido'/ 'crazy samba' sound. Released in the summer of 1975, the album was a minor commercial success selling around 200,000 copies, but it's now recognised as an essential piece of Brazilian music history. Surely the rawest and funkiest of Azymuth's albums, every track exudes the brimming energy of three exceptionally creative young men from Rio, with incendiary results. Opener ‘Linha do Horizonte’ – a sublime piece of melancholic electronic saudade where deep cinematic synths melt into gently strummed acoustic jazz guitar - was used as the theme tune for TV Novella and went on to sell half a million, propelling Azymuth into national acclaim. Azymuth went on to become one of the best-selling jazz artists of the 80s, but this is one of their most special releases, and a firm cult favourite.

There were Brazilian jazz-funk records before Azymuth's 1975 self-titled offering, but none of them engaged with post-tropicalian psychedelia, MPB, samba, and disco the way this date does -- so much so that the bandmembers called their music "samba doido," which translates as "crazy samba." Azymuth were formed in 1973 by José Roberto Bertrami (keyboards), Alex Malheiros (bass, guitars), and Ivan Conti (drums, percussion). All three had been active session players in the decade before. After playing some club dates and backing other musicians on-stage and in the studio, they began recording Azimüth in 1974, completing it nine months later. Things get off to a mellow start on the dreamy "Linha do Horizonte," as electric piano, ARP strings, a Moog Satellite, acoustic guitar, drum kit, and fretless bass lay down a breezy backdrop for Bertrami to deliver Paulo Sergio's lithe melody. The tune is so blissed-out, playing it nonstop for six or seven hours seems entirely logical. As gorgeous as it is, this is only a small part of what Azymuth do well. "Melô Dos Dois Bicudos" -- which has been used by scores of DJs to animate the dancefloor -- is simultaneously jittering and martial; it's funky Brazilian samba at its best. While there's a reprise of the ethereal on the tender "Brazil," it's got its own little groove, informed by not only by '60s Brazilian jazz but also by the American soul-jazz of Joe Sample and the Crusaders. "Seems Like This" is trancey jazz-funk with serpentine lines by Bertrami, a punchy hypnotic bassline by Malheiros, and organic percussion and shuffling kit work from Conti. The entire frame shifts when Bertrami's voice enters; time gets stretched and the groove may bump, but it's juxtaposed against a melody that is equal part disco-soul and psychedelic samba. "Estrada Dos Deuses" is a bumping floor-groover with a wind-out synth line that hints at the sounds to come on 1977's Águia Não Come Mosca. The set's final two tracks have become DJ classics in the intervening decades. "Morning" was remixed by Peanut Butter Wolf, and with good reason. The cuica and bassline vamp is hypnotic, while Bertrami's synths and strings color his layered vocal repetitions of the title before his Rhodes piano adds enough jazzy improv to make it infectious. Closer "Periscópio" is a seven-and-half-minute jam with a monster funk groove. Malheiros' dirty-ass bassline is as nasty as Bootsy's and appended by raging organ (think Charles Earland) and trancey drum and percussion work. The breaks are killer, the pace picks up and slows, but the whole thing just coils around the listener like a snake that doesn't let go until an organ briefly cuts the tension (church-like) before a clavinet riff, layers of choogling percussion, and funky drums bring back the organ and bassline in overdrive and the tempo charges to the finish. Azimüth signaled even greater things to come. But no matter what the band achieved, this stands as a stone classic, eternal in funky music history. -AllMusic Review by Thom Jurek

1. Linha Do Horizonte 4:30
2. Melô Dos Dois Bicudos 3:09
3. Brazil 3:59
4. Faça De Conta 4:32
5. Caça A Raposa 5:13
6. Estrada Dos Deuses 3:41
7. Esperando A Minha Vez 3:01
8. Montreal City 3:19
9. Manhã 3:48
10. Periscópio 7:36
11. Morning (Peanut Butter Wolf Re Edit) (Extra Track) 3:42

Detroit

Spectral, outsider gospel from Detroit, 1978, with Otis extemporising to himself worryingly in the name of the Lord, and zoning out on his Hammond (with rhythm unit). Pretty gone. Terrific.

This is one of the most extreme pieces of music I ever heard. And one of my favorites too. -mantra3000

This is straight from the top drawer. Raw, heartfelt and utterly brilliant gospel music. But not gospel as you know it.

For outsider gospel visionary and Detroit native Otis G. Johnson, the Holy Ghost was in the machine: in this case a rhythm-equipped Hammond organ. Everything / God Is Love 78, a singular 1978 mid-fi document, features android percussion against chords of Otis's own invention, possessed by minor tonality and frequent bum notes. Lifting it further are extemporaneous vocal homilies to the rapture, love, and everything, plus occasional 'other' voicings that scratch at the periphery of the mix. Homespun gospel rarely entered this dirge-like, intuitive space, nor did it commonly achieve such a spectral and captivating hymn to its darkest conventions. (NG)

The enigma that is Otis G. Johnson first came to our attention on the excellent ''Personal Space'' compilation. His songs, built around a rhythm-equipped Hammond organ, possess a certain outsider quality that is hard to come by these days. The dirge like qualities of Johnson's songs belie his gospel intentions. Their minor chord voicing and occasional bum notes make Everything - God Is Love 78 a testament to the singer's own despair. But there is hopefulness buried within the grooves, deliverance lies just beyond the reaches of Johnson's homespun melodies. This is music that will take you somewhere else entirely.

1. Walk With Jesus 6:45
2. He's the Way 6:42
3. He's Everything 8:32
4. A Time to Go Home 4:28
5. Call on Jesus 5:40
6. All Things 3:17
7. Your Day 7:57
8. Come Back 9:36

Jamaica

Britain's Pressure Sounds is one of the best reggae reissue labels out there. Specializing in top-notch roots and dub material, Pressure Sounds produces its packages with care and reverence. This is the seventh in a series of the label's samplers, and although the artists represented in this collection are varied, the overall feel is one of cohesion.
Pressure Sounds started off as a subsidiary of On-U Sound run by Adrian Sherwood's long term associate Pete Holdsworth but quickly became a self-supporting label in its own right. What binds together all the releases on Pressure Sounds is the attempt to present Jamaican music of the highest quality, in many instances reviving rare albums or collections of 7'' cuts that previously were only available to the hard-core collector, or those with more money than sense. Also, the label has taken maximum care in ensuring reissues are accompanied by both extensive sleeve notes and distinguished artwork which, with the growing interest in vinyl, is becoming more and more important. Pressure Sounds fulfils its aim to search out and select reggae from the golden era of the genre, whether it is vocalists, harmony groups, deejays or dubs through Mento, Rocksteady, Classic roots from the 70s or Digital music from the 1980s and 1990s.

1. Althea And Donna - Gone to Negril 7:16
2. Lee Perry / The Talent Crew - Crazy Negril 5:13
3. Gladstone Anderson / The Roots Radics - Holy Mount Zion 3:18
4. The Roots Radics - Holy Mount Zion (Version) 3:03
5. Barry Brown / The Aggrovators - I Man Can't Live Like This 6:18
6. Barry Brown / The Aggrovators - From Creation I Man There 6:20
7. Diggory Kenrick / The Prophet Allstars - Oppression (Part 1) 4:07
8. Diggory Kenrick / The Prophet Allstars - Oppression (Part 2) 3:48
9. The Prophet Allstars - Oppression (Long mix) 4:33
10. Yabby You - Tell Us Our Past History 4:17
11. Yabby You - Tell Us Our Past History (Dub Plate Mix) 5:20
12. David Isaacs - Jah Love I (Extended Mix) 5:44
13. Freddie McKay - It De Hay 2:53
14. Sunshot Allstars - It De Hay (Version) 3:04

Memphis

Great 2-on-1 album features Bobby Womack's debut solo album following his departure from his brothers and their band, The Valentino's released in 1969. Womack's second album was My Prescription, released in 1970

Womack Special, One -Two Punch..

"Fly Me To The Moon"/"My Prescription", the first two albums compiled together of singer/songwriter Bobby Womack, FLY ME TO THE MOON, the debut released 1969. The heart of soul all over, featuring "Fly Me To The Moon", "What Is This", "I'm A Midnight Mover", "Lillie Mae", "Think It Over", - Wilson Pickett also covered "Midnight Mover", written in collaboration by Pickett and Womack. Pickett always said, "Bobby Womack was his favorite songwriter", and eleven of twenty three songs on this compilation are Womack originals. Bobby Womack is noted as a fine guitar player and probably underrated, his unique vocal style stands tall with other elite singers, Otis Redding, Wilson Pickett, or a Clarence Carter...listen for the fine cover of the Mamas And Papas', "California Dreamin'". MY PRESCRIPTION, the second album recorded in 1970, features, "How I Miss You Baby", "More Than I Can Stand", "Arkansas State Prison", "Everyone's Gone To The Moon", and a soulistic jazz version of, "I Left My Heart In San Francisco". This has to be one of the very best recordings of Bobby Womack, a disc ya just can't stop spinning... -R. Webb

Bobby Womack, Sam Cooke's protegé and successful singer/songwriter/guitarist in the Valentinos, went solo in 1968 and traveled down South... DEEP down South, to cut his first album for the New-Orleans based Minit Records - recording most of it in Chips Moman's studio in Memphis.

If one didn't know any better, one would surely believe upon listening to this disc that Womack was signed to either Stax or FAME - it truly is THAT good and THAT Southern...

Bobby had a penchant for turning even the schmaltziest of tunes into sweat-dripping, raw soul jams. Case in point is "Fly Me to the Moon", a delicious, mid-tempo and horn-heavy take on the Tony Bennett classic. Womack's raspy vocal and his inimitable guitar wizardry are spot on from track one...

"Baby! You Oughta Think It Over" is pure, hard socking Southern Soul, featuring blaring horns, a sturdy, meaty beat and subdued, tasteful strings, while an interpretation of his own "Midnight Mover" is every bit as wild and feisty as Wilson Pickett's hit version.

Bobby's first solo hit, however, would be "What Is This", an amazing, fast paced, complex soul extravaganza that really puts the emphasis not only on Womack's incredible, rough and powerful voice, but especially on his talent as a guitarist as well; the chord progressions are exhilarating. 

It's the anguished ballad "Somebody Special" that knocked me out (five times) upon first listen. Bobby belts, wails, croons and soars on this sad, harrowing tale of unrequitted love. The haunting strings ad to the incredibly tense atmosphere. A masterpiece.

"Take Me" straddles the middle ground, a fantastic, mid-tempo soul gem that is embellished by some very effective wails on the harmonica. 

Next up is a gorgeously soulful take on the evergreen "Moonlight In Vermont" - really, Bobby's version is the only one I can dig - while the breathtakingly beautiful and inspiring "Love, the Time Is Now" conjurs up the sound, sentiment and message of Womack's mentor Sam Cooke's brilliant "A Change Is Gonna Come". Listen when Bobby sings the line 'let my people go', which is immediately followed by a harrowing fill from a weeping harmonica.

Less political, but equally moving, is "I'm In Love" - this too was a hit for Wilson Pickett in 1968, but when Bobby interprets his own material, there's just no comparison. Then again, he proved well at ease with other people's songbook, as demonstrates a latin-esque, hazey spin on the Mamas & the Papas "California Dreamin'".

But Womack ends his first, magnificent full-length disc on a steamy, rocking, funky note: Both the strutting "No Money In My Pocket" - which features Bobby overdubbing his own backing vocals and 'sock-it-to-'em' adlibs - and the frantic beater "Lillie Mae" are superior grooves, totally on par with anything coming from the James Brown school. 

Truly a special album to me, and one I will hold dear probably forever. -soulmakossa

Bobby Womack's second album on Minit Records rivals his first, Fly Me to the Moon. He establishes himself firmly in the mold of his contemporaries: Wilson Pickett, Don Covay, Johnnie Taylor, and other top soul men. An accomplished writer, Womack's never handicapped by poor material, but never hesitates to redo popular songs by other writers. He scores with a funky rendition of "Fly Me to the Moon" (taken from his debut Minit LP), and with poorer results (chart-wise), "I Left My Heart in San Francisco," though aesthetically it's as funky as a bowl of hardened grits. He takes both easy listening songs far from their original molds. "How I Miss You Baby," "More Than I Can Stand," and Sam Cooke's "I'm Gonna Forget About You" made the rotations at R&B stations across America for good reason -- they rock. Bobby "The Doctor" Womack fills this prescription and has you hankering for a refill. -AllMusic Review by Andrew Hamilton

Almost as perfect as his debut album, "My Prescription" keeps the sound firmly in a Southern Soul bag, adding some touches of pop and rock to the mix.

"How I Miss You Baby" is the persistently kickin' mid-tempo ballad kicking it all off. Bobby lets loose another one of his full-throttled vocals on here, with brilliant, greasy horns accentuating every downbeat. Similar in mood and tempo, "More Than I Can Stand" is even better; an autobiographical account of the romantic troubles Womack was going through at the time (he was still married to Sam Cooke's widow in 1970).

Real nitty-gritty country church soul stompin' comes with "It's Gonna Rain", a thundering groove monster layered in horns and soppin' in the ravenous purs of a Hammond organ. Briefly switching to pop with an inspired rendition of Jonathan King's "Everybody's Gone to the Moon", Womack turns in another mid-tempo soul wailer with the devastating "I Can't Take It Like a Man".

As he had done with "Fly Me to the Moon" (a track re-released on this album), Bobby jazzes up "I Left My Heart In San Francisco", speeding up the groove and perking it up with his own inimitable, funky guitar chops, after which he launches into the hardest funkin' jam here with the raw, lazily struttin' vamp "Arkansas State Prison". Featuring both old-time country slide guitar riffing and that 'pick axe and shovel' beat first heard on Sam Cooke's "Chain Gang", the lyrics are pretty brutal, dealing with in-jail murder, hound dogs, shady guards and a successful escape.

Again paying hommage to his mentor Sam Cooke, Womack then takes on "I'm Gonna Forget About You", turning it into a deliciously struttin', horn-infested groove, featuring a preposterously funky outro. He also considerably 'spices up' the Temptations' "Don't Look Back", adding more blaring horns and his own crackeling guitar riffs.

His pop sensibilities are showing once more with "Tried and Convicted", a stomping blues-based wailer that is sufficiently embellished with strings, but the man saves the best for last with one of soul music's most touching, melodic, beautiful ballads I have ever heard. Intensely personal, "Thank You" is the crowning achievement of this LP. Sparsely arranged, with Bobby churning out a heartfelt, intimate vocal, this gem of a tune is both pretty as it is soothing. A masterpiece.

In all, a fantastic album that should have received far more recognition than it did the first time of its release. Southern Soul at its finest. -soulmakossa

Fly Me To The Moon
1. Fly Me To The Moon (In Other Words) 2:10
2. Baby! You Oughta Think It's Over 2:38
3. I'm A Midnight Mover 2:05
4. What Is This 2:35
5. Somebody Special 3:00
6. Take Me 2:35
7. Moonlight In Vermont 2:38
8. Love, The Time Is Now 3:22
9. I'm In Love 2:47
10. California Dreamin' 3:25
11. No Money In My Pocket 3:05
12. Lillie Mae 1:59
My Prescription
13. How I Miss You Baby 3:18
14. More Than I Can Stand 2:52
15. It's Gonna Rain 2:24
16. Everyone's Gone To The Moon 2:39
17. I Can't Take It Like A Man 3:08
18. I Left My Heart In San Francisco 2:23
19. Arkansas State Prison 2:59
20. I'm Gonna Forget About You 2:28
21. Don't Look Back 2:49
22. Tried And Convicted 2:51
23. Thank You 4:08

Notes
Incl. booklet

This is a reissue of two Bobby Womack LP's from the late 1960's:
Side A & B - "Fly Me To The Moon" (Minit LP24014), 1968
Side C & D - "My Prescription" (Minit LP24027), 1969

Brazil

Sends you on a trip through time and space

Rare and highly sought after in its original format, Os Brazões self-titled album was originally released on RGE Discos in 1969. It is a psychedelic masterpiece that fuses samba, r’n’b and rock ’n’ roll influences using fuzz guitars, synths, percussion, lush vocals and effects.

Brazilian airwaves were ruled by two distinct powers in the late ’60s: the verbose political rhetoric of a military regime hell-bent on keeping Communism out of Brazil by any means necessary, and the advent of tropicália. The new sounds were an alchemy of psychedelic rock tinkered with by locals, making it their own by mixing in local flair and bossa nova. By 1969, the same year Caetano Veloso and Gilberto Gil were arrested and sent into exile, military dictator Emílio Garrastazu Médici took the reins of the country, and the death penalty was instituted. This provided a turbulent yet fertile soil for Brazilians to express the woes of the times in song and art. It was also the time Os Brazões released its sole self-titled album, influenced by the angst of the day and the sounds of a hopefully better tomorrow.

The group first made a name for itself as Gal Costa’s backing band, yet allegedly never recorded alongside her. After seeing the electrifying shows put on by the group, the RGE label soon signed the group to record a single album. Though the influences of Os Mutantes and other tropicália artists of the time are present, what is laid to tape sounds nothing like the group’s contemporaries. The gloss of lush horns and complex arrangements found on Veloso and Gil records from the same era is missing. Found in its place is a wall of fuzz spread across the majority of the songs provided by, simply, Roberto. Layered within is wah-wah-drenched rhythm guitar by Miguel, who later adopted the moniker Miguel de Deus, recording one solo album titled Black Soul Brothers and another as a member of Assim Assado.

From the album’s first cut, a cover of Gilberto Gil’s “Pega a Voga, Cabeludo” things take off with an aggressive guitar lead that just doesn’t seem to halt until the album is over. The fully charged “Tão Longe de Mim” is undoubtedly the psychedelic crown jewel of the album, showcasing Eduardo’s scrappy drum work.

Os Brazões created music in a time of political upheaval; their copacetic original compositions are juxtaposed with subtly acidic Brazilian standards like “Volks, Volkswagen Blue” and “Carolina, Carol Bela.” The listener never forgets that this album is distinctly Brazilian, an audible Polaroid of their world slowly developing through four young Brazilians’ eyes: a fusion of past tranquility, present upheaval, and future uncertainty. -Brett Koshkin

1. Pega A Voga Cabeludo 3:14
2. Canastra Real 2:54
3. Módulo Lunar 4:52
4. Volksvolkswagen Blue 2:35
5. Tão Longe De Mim 2:12
6. Carolina, Carol Bela 2:07
7. Feitiço 3:10
8. Planador 2:31
9. Espiral 3:33
10. Gotham City 3:18
11. Momento B/8 2:44
12. Que Maravilha 2:30

Archive