LP

Rythmes Contemporains

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RC 001

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20.00
Tracklist: 

Side 1
1. Black On A White Ground
2. Giant Locomotion
3. Xenos Comos
Side 2
1. Underground Session
2. Mouvements Aquatiles
3. The Savage Rose

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The Pop World Orchestra

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In the '70s, Yan Tregger was far to believe he would become one of the most emblematic artists in the "sound illustration" scene. Yet today, his albums are highly coveted by "diggers" all around the world. At the time, nobody paid much attention to all those records that were classified as sound illustrations, or library music.Yan Tregger started out in this environment in the late '60s. He was remarked after making several recordings for the credits of TV shows, and received a proposal to compose his first album. It was a small label (Marignan), the sleeve design was skimpy and the track titles were bizarre... Yet when you listened, the sound was seriously groovy. The album was called Freezing Point and a mere 300 copies were pressed.Thanks to this first test, other "illustration" professionals were convinced by Tregger’s qualities. During this period, there was no lack of work but there was no glory on the program either. In the '70s, many different labels such as Neuilly, Montparnasse 2000, or the Italian CAM label, called on his services. Shortly afterwards, Philips released two of his records under the name Major Symphony, and then Polydor issued the two M.B.T. Soul albums, including one international success, "Chase".Up until now, despite the interest shown in his discography, no reissue had been undertaken - an omission that has just been fixed thanks to the release of a compilation that we are pleased to present. Let's start with the main information: the tracks included on the album were selected jointly by a number of collectors and Yan Tregger himself. The selection is rich and surprising. The A side is more "seventies", with an instrumental pop style and a psychedelic vibe, while the B side is more rhythmic and melodious, corresponding more with the funky disco moods of the eighties.

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CM 14947V

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27.00
Tracklist: 

Side 1
1. Sun Adoration
2. Mineral
3. Freely Stories
4. Huff
5. At The Feet
6. The Crash
Side 2
1. Catchy
2. Slow Zoom
3. The Girl In Gold
4. Prophetic Soul
5. Henny
6. Black & Blue

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Toute L'Afrique Danse Vol. 10

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HC 56

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22.00
Tracklist: 

Side 1
1. Lickin Stick
2. Lickin Stick 2
3. Lolo Soul
4. Lolo Soul 2
5. Hey Jude
6. Du Respect
Side 2
1. Papa Has A Brand New Bag
2. Non Ce N'est Pas Vrai
3. Je Suis Abandonne
4. J'ai Pleure Ma Belle
5. Jusqu' A Minuit

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Colourful Environment

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Fresh from touring with Hugh Masekela (“The Boy’s Doin’ It”), Gboyega Adelaja goes into the lab to drop heavy keyboard science on his Moog and Fender Rhodes. Its Joe Sample meets the Afro Funk of BLO. With names like Jake Sollo on guitars, Mike Odumusu (BLO, Osibisa) on bass guitar and Gasper Lawal on percussion. This is a top quality, Afro-Funk, all-stars affair that shines from the inspired interventions, masterly arrangements to the sublime production.Additional Notes:“I was already following Hugh Masekela when I met him, he was an outstanding musician and I knew of his collaboration with Hedzoleh, that band brought him nearer to many of us, because he was playing authentic African melodies with the Hedzoleh sound which was mostly percussion oriented. Yes I knew about Hugh’s music before I met him. Infact when we started playing together, he insisted that I stay with him in our three bedroom apartment, other members of the band had their own apartments, but Hugh and myself shared the same 3 bedroom apartment”.“We were touring, under Casablanca owned by Neil Boggart, we toured as professional musicians, flying to our gigs. There was a time when we were touring with George Clinton and Parliament Funkadelic we had two luxury buses deployed for our use. We made many friends where ever we went to play, we met many big and popular musicians who came to watch our shows, the Spinners came to see us in Detroit, we met Wayne Shorter of Weather Report, Freddie Hubbard, we played a gig with Herbie Hancock at the Carnegie Hall New York City, we toured almost all the 50 States of the US.”

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LIVST 006LP

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32.00
Tracklist: 

Side 1
1. Funky City
2. Baby, My Love For You
3. Ere Aladun
4. Adua (Prayer)
Side 2
1. Colourful Environment
2. I Still Love You
3. Agberede

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Toni Tornado

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Legendary Funk soul album from 1972. A Black Rio masterpiece reissued for the first time on vinyl. Limited to 500 copies, in authentic collectors 70s ' paste-on' packaging.Son of a Guyanese father and a Brazilian mother, at 11 years old Tony ran away from home and ended up in Rio de Janeiro where he became a street kid and made a living selling peanuts and shining shoes.At 18 he served in the Deodoro School of Parachuting along with the futurely TV presenter and entrepreneur Silvio Santos. In 1957, he fought in the Suez Canal.Tony began his artistic career in the 60s with the stage name Tony Checker, lip-synching and dancing on "Hoje dia de Rock" show of Jair Taumaturgo. That time Tony imitated singers Chubby Checker and Little Richard. Even in the 60s, he traveled to the United States where he lived for five years in New York.In New York, Tony served as drug dealer and pimp, to deceive the immigration department, pretending to be an employee of a car wash. At that time, Tony met another Brazilian who also lived in New York, the also singer Tim Maia.Back in Brazil in 1969, he worked in the group of Ed Lincoln and also sang at night with the pseudonym Johnny Bradfort, the owner of the club forced him to pretend to be a foreigner.In 1970, he adopted the name with he came to be known, "Tony Tornado". Influenced by James Brown, Tony was one of the artists who introduced soul music and funk in Brazilian music.That same year, alongside Trio Ternura defended the song BR-3, which got the first place in the festival. His first role on television was in 1972 , in the 1972 telenovela "Jeronimo" on TV Tupi. James Brown released "I'm Black and I'm Proud" during the height of the Black Power Movement in the United States in 1968. Brown's in-your-face approach to racial pride resonated in the U.S. ghettos as well as the slums abroad. Many black people, all around the world, embraced the Black Power soundtrack and consciousness. Working-class black cariocas (residents of Rio) of Zona Norte began using the English phrases "Black Power," "brother" and "black is beautiful." They played African-American soul records at their bailes(dances) and incorporated the lyrics and sounds into their music.Maia, the godfather of musica soul, spent five years in the United States. He came to know the sounds of black America intimately. When he returned to Brazil in 1964, Maia incorporated the soul and funk influences into his songs. By the 1970s, other Brazilian musicians, such as Tony tornado, Banda Black Rio, Cassiano, Gerson King Combo, Jorge Ben Jor and Gilberto Gil, began making soul records. DJs started throwing soul-only parties. This nova (new) music spoke to an experience both universal and unique at the same time. The time period was known as "Black Rio. By the end of the '70s, funk and disco would take over where soul left off, but it was the latter that helped to shape a generation of artists around a universal black identity.

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MAD004LP

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32.00
Tracklist: 

Side 1
1. Mane Beleza
2. Nao Grile A Minha Cuca
3. Torniente
4. Eu Duvido Muito
5. Sinceridade
6. Podes Crer Amizade
Side 2
1. Aposta
2. Bochechuda
3. Uma Ideia
4. Eu Tenho Um Som Novo
5. Tornado

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A Virgem De Saint Tropez

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Reissue of this rare soundtrack. Stunning composition.. Salvanini at his best.

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MRSSS 559

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33.00
Tracklist: 

Side 1
1. You Can't Run Away From Your Destiny
2. Espairecendo
3. Ansiedade
4. Sao Paulo
5. Panorama
6. Amazonia
7. Saint Tropez
8. Quarto Do Hotel
Side 2
1. Copacabana Rock
2. Dois E O Mar
3. Perseguicao
4. Seios
5. Despedida
6. Nao Podes Fugir Do Teu Destino

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Spirit Rejoin

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Listening to the music of Al Doum & Faryds is always like staying in the pristine nature of an exotic desert island, in the sacred harmony of a New Organic Society; imaging all brothers and sisters singing and dancing in the unity of the brotherhood. This is the message of love and joy that seems to pervade the fourth album of the Milanese band.Compared to previous works, the substantial characteristics of the sound remain a powerful rhythmic basis and the prestigious skill in the poly-rhythmic dynamics; everything is however moved towards accents of more markedly jazzy ancestry. Basically the Faryds absorb and re-elaborate with remarkable insights disparate elements and influences of certain Electric Jazz or Rock- Jazz-Blues of the ’70 (Miles David, Dr.John, Graham Bond, Jeremy Steig) and Spiritual Jazz (Sun Ra, Pharoah Sanders, Don Cherry, Brother Ah), marrying them with the forceful instances of certain Afro-Free (Pyramids, Alkebu-Lan) and the more Freak-Jam plots typical of Space Rock. The sense of complete unity is also rooted in the balanced synergy and chorality of the instruments, which enjoy a perfect osmotic reciprocity and complementarity. A very important role is played by the entry of Fender Rhodes that chromatically emphasizes the parts as counterpoints and hypnotics ostinatos chased by the dense timbral mixtures of alto-sax and flute (Light Up) and roaring wah-wah guitars with flowing acid trajectories. The Holy Magic of the Faryds can lead to states of hypnotic trance in the inner abyss of infinite echoes (Drums Odyssey), open spaces of whirling freepsychedelia with unbridled and hyper-vibrating dilatations (Satieva), give moments of intense ritual concentration with accurate inserts of choral-religious invocation (Unity Is Brotherhood and Weed And Love) or more solemn orchestral sections with precious brass arrangements (Solchi). A pure joy scented with warm oriental radiance is reached with a touching final Raga-Folk (the titletrack) for sitar, acoustic guitar, percussions and rattles, chant and clapping hands. It’s the ideal evocation of music for the heart, mind and body in a journey of total pranic breath. Spirit Rejoin is the celebration of a new collective soul, a great cathartic ritual and an endless party with birds, plants and all the animals in the circle of devotion.

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BJR 032

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26.00
Tracklist: 

Side 1
1. Weed And Love
2. Jimmy's Gun
3. Light Up
4. Solchi
Side 2
1. Satieva
2. Unity is Brotherhood
3. Drums Odissey
4. Spirit Rejoin

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The Order Of Change

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The subject of Music From Memory’s latest compilation focuses on Suso Saiz’s output as part of the group Orquesta De Las Nubes, formed by Suso Saiz and percussionist Pedro Estevan when the two met whilst studying a course on ‘Techniques of Contemporary Composition’ in Madrid.Following on from a retrospective compilation of solo work and an album of recent work in 2016, Music From Memory continue to explore the work of Spanish ambient and experimental pioneer Suso Saiz.Sharing a curiosity for American minimalist and Non-Western music, the pair began to share music through many listening sessions, during which the idea slowly evolved to try and make music together. Pedro’s partner at the time, soprano singer María Villa, would later join the two on vocals. With Suso’s sparse use of guitar loops, synthesizers, and drum computers in combination with the hypnotic percussion of Pedro Estevan and the wordless drifting vocals of María Villa, Orquesta De La Nubes would evolve as a group with a truly unique musical language; an ethereal and almost otherworldly musical realm.Developing at first as a live act, through a number of performances in Madrid and beyond, Orquesta De Las Nubes was very much connected with, and inspired by, the avant-garde arts scene in Madrid at the time. Throughout their shows, a close circle of friends, including a number of painters, sculptors and designers, would collaborate with the trio to create unique imagery and elaborate stage sets for the group’s performances.Yet, despite the growing fascination surrounding Orquesta De Las Nubes’ live performances, the trio would however find it extremely difficult to find a label willing to release their music on record. The group’s then manager Silvia Lovosevic therefore decided to set up her own label ‘Linterna Música’ in order to make the work available. The group would release three albums between 1983-1987, two on the Linterna Musica label as well as an album and CD compilation of live tracks on the cult Spanish label ‘Grabacionnes Accidentales’.Between this period the trio would also team up with American percussionist Glen Velez to record as the group ‘Musica Esporadica’; a one-off project in which they recorded a single album of the same name in 1985. ‘Musica Esporadica’ will be released on Music From Memory in 2019.

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MFM 033

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22.00
Tracklist: 

Side 1
1. Un Regalo
2. Vendran Lluvias Suaves
3. Tres Ostras
4. Tiempo De Espera
5. Para Que Pasen Las Termitas
6. Cama Diarmonica
Side 2
1. Como Un Guante
2. El Orden Del Azar
3. Me Paro Cuando Suena (part 1)
4. Ella No Lleva Gafas

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On

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Debut album by dutch act Altin Gün, offering an exciting mix of Turkish folk, psychedelia, funk and rock.Altin Gün was found ed by Dutch bass player Jasper Verhulst (a.o. Jacco Gardner's band), who is fascinated by Turkish '70s artists such as Selda, Baris Manço and Erkin Koray. Together with Ben Rider (guitar), Nic Mauskovic (drums), Jungle By Night's energetic percussionist Gino Groeneveld and Turkish musicians Merve Dasdemir and Erdinc Yildiz Ecevit, he revives the spirit of the Turkish '70s scene and also includes influences from western rock.

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BJR 025

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23.00
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Side 1
1. Tatli Dile Guler Yuze
2. Kirsehir'in Gulleri
3. Goca Dunya
4. Halkali Seker
5. Caney
Side 2
1. Sad Olup Gulmedim
2. Cemalim
3. Cicekler Ekiliyor
4. Kaymakamin Kizlari
5. Seker Oglan

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Mothers' Garden The Funky Sounds Of Female Africa 1975-1984

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With our Africa Airways series flying high we felt it is time to introduce a new compilation focusing on the unique contribution from some of Africa's most recognised female artists and some lesser known ones for good measure. We are excited to be launching this on Women's Day 2018 as our way to highlight the incredible, yet under-acknowledged musical contribution that African women have given to the funky sounds of Africa. Taking our cue from the Alice Walker essay "In Search of Our Mothers' Gardens", the creative sparks that inspired this collection of songs were formed in their Mothers' Gardens by Mothers who paved the way for their daughters to keep the creativity of black women alive through their strength and resilience. Whilst we have a bit more of a message with this one, we wouldn't be Africa Seven if it wasn't damn funky at the same time!We kick things off with the infectious sound of South-African Letta Mbulu. Letta started her career playing alongside fellow heavyweights Miriam Makeba and Hugh Masekela as cast members of King Kong in the 1950's and has since gone on to become one of the most influential south-African artists, even featuring on Michael Jackson songs, as well as being recognised for her contribution both musically and to that of the country's liberation struggles. With a crate-digger, secret weapon version of her classic Kilimanjiro single, "Kilimanjiro, Take Us Higher" is longer and has all the disco groove and delight you need and desire from such a star.Uta Bella takes over from Letta, with a powerful Africa Seven return. "Enyin" is a glamorous disco scorcher heightened by glittering keys and irresistible West African vocals. One of Nigeria's unsung pioneers, and first female pop bandleader, Mona Finnih continues the flow with an effortless boogie number "Ani Kewa Jo" which just keeps on giving for nearly 7 glorious minutes. This devastating 80's number "Nou Ke Sa Inmew" from Cida Desvarieux follows up Uta and is dealt in two halves. Firstly a hit of beautiful vocals and slap bass controls the floor before handing over to the powerful guitar riffs and horns which groove out for the rest of this number. Wrapping up the first side with a classy reggae inspired number "Time Waits For No One" is Christy Essien, the grand dame of Nigerian pop, who was never far away from the issues affecting women in the Nigerian music industry.Side two, enter Togolese singer Akofa Akoussah causing a storm with "Tango", delicate at times yet with a ferocious, unforgiving energy. Next a more obscure offering from Carmen Ezumah with vintage afro goodness in the form of "Tala Tala". Moving on, we have the Nigerian Lijadu sisters (dubbed "the West African Pointer Sisters") with one of their most notable hits "Danger". Our penultimate offering is another dose of obscurity, sandwiched between two greats, with Kenyan Bakambi N'Kela's uncompromising "Kilimanjoro".Mothers' Garden finishes the way we started. With another one of Africa's leading ladies and music royalty, Miriam Makeba. Nicknamed Mother Africa, Miriam is famed for her huge musical contributions, her role in fighting the apartheid and for becoming a UN Ambassador. "Xica Da Silva" is a cover of Jorge Ben and the slow, hypnotic rhythm allows for the power of Miriam's voice to shine through.

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ASVN 022

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27.00
Tracklist: 

Side 1
1. Letta Mbulu - Kilimandjaro Take Us Higher
2. Uta Bella - Enyin
3. Mona Finnih - Ani Kewa Jo
4. Cida Desvarieux - Nou Ke Sa Inmew
5. Christy - Time Waits For No One
Side 2
1. Akofa Akoussah - Tango
2. Carmen Ezumah - Tala Tala
3. The Lijadu Sisters - Danger
4. Bakambi N'Kela - Kilimanjoro
5. Miriam Makeba - Xica Da Silva

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Original
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