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Analog Africa Vinyl, CD & Tape 20 Artikel

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Dur-Dur Band - Dur Dur of Somalia
Dur-Dur Band
Dur Dur of Somalia
3LP | 2018 | EU | Original (Analog Africa)
35,99 €*
Release:2018 / EU – Original
Genre:Organic Grooves
Analog Africa are proud to present the 27th release of their Analog Africa Series. A fantastic, hypnotic and funky compilation from the Dur-Dur Band of Somalia that comes out on a Triple LP.When Analog Africa founder Samy Ben Redjeb arrived in Mogadishu in November of 2016, he was informed by his host that he would have to be accompanied at all times by an armed escort while in the country. The next morning, a neighbour and former security guard put on a military uniform, borrowed an AK-47 from somewhere and escorted him to Via Roma, an historical street in the heart of Hamar-Weyne, the city’s oldest district. Although previous Analog Africa releases have demonstrated a willingness to go more than the extra air-mile to track down the stories behind the music, the trip to Mogadishu was a musical journey of a different kind. It was the culmination of an odyssey that had started many years earlier.In 2007 John Beadle, a Milwaukee-based musicologist and owner of the much loved Likembe blog, uploaded a cassette he had been handed twenty years earlier by a Somalian student. The post was titled ‘Mystery Somali Funk’ and it was, in Samy’s own words, “some of the deepest funk ever recorded.” The cassette seemed to credit these dense, sonorous tunes to the legendary Iftin Band. But initial contact with Iftin’s lead singer suggested that the ‘mystery funk’ may have actually been the work of their chief rival, Dur-Dur, a young band from the 80s.Back then, Mogadishu had been a very different place. On the bustling Via Roma, people from all corners of society would gather at the Bar Novecento and Cafe Cappucino, watch movies at the famous Supercinema, and eat at the numerous pasta hang-outs or the traditional restaurants that served Bariis Maraq, a somali Beef Stew mixed with delicious spiced rice. The same street was also home to Iftinphone and Shankarphone, two of the city’s best known music shop. Located opposite each other, they were the centre of Somalia’s burgeoning cassette distribution network. Both shops, run by members of the legendary Iftin Band, would become first-hand witnesses to the meteoric rise of Dur- Dur, a rise that climaxed in April of 1987 with the release of Volume 2, their second album.The first single ‘Diinleya’ had taken Somalian airwaves by storm in a way rarely seen before or since. The next single, ‘Dab,’ had an even greater impact, and the two hits had turned them into the hottest band in town. In addition to their main gig as house band at the legendary Jubba Hotel, Dur-Dur had also been asked to perform the music for the play “Jascyl Laba Ruux Mid Ha Too Rido” (May one of us fall in love) at Mogadishu’s national theatre. The play was so successful that the management had been forced to extend the run by a month, throwing the theatre’s already packed schedule into complete disarray, and each night, as soon as the play had finished, Dur-Dur had to pack their instruments into a Volkswagen T1 tour bus that would shuttle them across town in time for their hotel performance.The secrets to Dur-Dur’s rapid success is inextricably linked to the vision of Isse Dahir, founder and keyboard player of the band. Isse´s plan was to locate some of the most forward-thinking musicians of Mogadishu´s buzzing scene and lure them into Dur-Dur. Ujeeri, the band’s mercurial bass player was recruited from Somali Jazz and drummer extraordinaire Handal previously played in Bakaka Band. These two formed the backbone of Dur-Dur and would become one of Somalia’s most extraordinary rhythm sections.Isse also added his two younger brothers to the line-up: Abukar Dahir Qassin was brought in to play lead guitar, and Ahmed Dahir Qassin was hired as a permanent sound engineer, a first in Somalia and one of the reasons that Dur-Dur became known as the best-sounding band in the country.On their first two albums, Volume 1 and Volume 2, three different singers traded lead-vocal duties back and forth. Shimaali, formerly of Bakaka Band, handled the Daantho songs, a Somalian rhythm from the northern part of the country that bears a striking resemblance to reggae, Sahra Dawo, a young female singer, had been recruited from Somalia’s national orchestra, the Waaberi Band. Their third singer, the legendary Baastow, whose nickname came from the italian word ‘pasta’ due to the spaghetti-like shape of his body, had also been a vocalist with the Waaberi Band, and had been brought into Dur-Dur due to his deep knowledge of traditional Somali music, particularly Saar, a type of music intended to summon the spirits during religious rituals. These traditional elements of Dur-Dur’s repertoire sometimes put them at odds with the manager of the Jubba Hotel who once told Baastow “I am not going to risk having Italian tourists possessed by Somali spirits. Stick to disco and reggae.”Yet from the very beginning, Dur-Dur’s doctrine was the fusion of traditional Somali music with whatever rhythms would make people dance: Funk, Reggae, Soul, Disco and New Wave were mixed effortlessly with Banaadiri beats, Daantho and spiritual Saar music. The concoction was explosive and when they stormed the Mogadishu music scene in 1986 with their very first hit single, ‘Yabaal,’ featuring vocals from Sahra Dawo, it was clear that a new meteorite had crash-landed in Somalia. As Abdulahi Ahmed, author of Somali Folk Dances explains: “Yabaal is a traditional song, but the way it was played and recorded was like nothing else we had heard before, it was new to us.” ‘Yabaal’ was one of the songs that resurfaced on the Likembe blog, and it became the symbolic starting point of this project.It initially seemed that Dur-Dur’s music had only been preserved as a series of murky tape dubs and YouTube videos, but after Samy arrived in Mogadishu he eventually got to the heart of Mogadishu’s tape-copying network – an analogue forerunner of the internet file-sharing that helped to keep the flame of this music alive through the darkest days of Somalia’s civil strife – and ended up finding some of the band’s fabled master tapes, long thought to have disappeared.This triple LP / double CD reissue of the band’s first two albums – the first installment in a three-part series dedicated to Dur-Dur Band – represents the first fruit of Analog Africa’s long labours to bring this extraordinary music to the wider world. Remastered from the best available audio sources, these songs have never sounded better. Some thirty years after they first made such a splash in the Mogadishu scene, they have been freed from the wobble and tape-hiss of second and third generation cassette dubs, to reveal a glorious mix of polychromatic organs, nightclub-ready rhythms and hauntingly soulful vocals.In addition to two previously unreleased tracks, the music is accompanied by extensive liner notes, featuring interviews with original band members, documenting a forgotten chapter of Somalia’s cultural history. Before the upheaval in the 1990s that turned Somalia into a war-zone, Mogadishu, the white pearl of the Indian Ocean, had been one of the jewels of eastern Africa, a modern paradise of culture and commerce. In the music of the Dur-Dur band – now widely available outside of Somalia – we can still catch a fleeting glimpse of that golden age.Listen & Enjoy!
Gyedu-Blay Ambolley - Gyedu-Blay Ambolley Colored Vinyl Edition
Gyedu-Blay Ambolley
Gyedu-Blay Ambolley Colored Vinyl Edition
LP | 2018 | EU | Original (Analog Africa)
28,99 €*
Release:2018 / EU – Original
Genre:Organic Grooves
Analog Africa's 9th release of their Limited Edition Serie. A fantastic dancefloor, summer cocktail of Highlife, Funk and synths in a 4 Track-LP from the ghanaian bandleader Gyedu-Blay Ambolley.Prepare yourself for new directions in Afro-funk. During the 1980s, ghanaian bandleader Gyedu-Blay Ambolley began to experiment with electronic instruments, and the result was a potent cocktail of highlife, funk, exploratory synths and righteous vocals, the sound of a restless genius intent on pushing the traditional sounds of highlife into a brave new future. On July 20 Analog Africa will release a album containing four of Ambolley’s hardest-driving excursions to the outer limits of eighties funk. By the end of the 1970s, Ambolley was already a legendary figure on the ghanaian music scene. A drummer, turned guitarist, turned bassist, turned lead vocalist, he rose to prominence during the late 1960s, serving with countryman Ebo Taylor in the Stargazers and the Uhuru Dance Band before launching his own career with ‘Simigwa-do’, the 1972 hit that propelled him to West African stardom. As a founding member of the Apagya Show Band and the Complex Soundz, he stretched the boundaries of highlife with electric instruments, funky rhythms and socially charged lyrics in Fante and English. If he had retired in 1978, Ambolley’s place in the history of ghanaian music would have been secure. Instead, he dissolved the Complex Soundz and embraced the synthesizer. With a new band, Zantoda Mak III, he recorded ‘The Message’, a seven minute funk workout built on a highlife foundation, and decorated with shimmering synths. Recorded in 1980, the song became a hit that would change the direction of Ambolley’s music: over the next decade, electronic instruments played a much larger role in his sonic experiments. ‘The Message’ receives a long overdue re-release on this album along with three other peaks from Ambolley’s eighties output. The futuristic funk of ‘Akoko Ba’ strips down the rhythm, raises the intensity of the vocals, and adds a dose of serpentine saxophone. On the B-side, ‘Simigwa Soca’ sets classic highlife horns against an unshakable bass groove, while the incredible ‘Burkina Faso’ is Ghana’s great lost electro-funk gem, a sleek construction of robotic bass, call-and-response vocals, and fat stabs of slippery synth. Difficult, if not impossible to find for decades, Analog Africa is proud to make Gyedu-Blay Ambolley’s extraordinary eighties recordings available to a wider audience.
V.A. - Space Echo
V.A.
Space Echo
2LP | 2016 | EU | Original (Analog Africa)
25,99 €*
Release:2016 / EU – Original
Genre:Organic Grooves
In the spring of 1968 a cargo ship was preparing to leave the port of Baltimore with an important shipment of musical instruments. Its final destination was Rio De Janeiro, where the EMSE Exhibition (Exposição Mundial Do Son Eletrônico) was going to be held. It was the first expo of its kind to take place in the Southern Hemisphere and many of the leading companies in the field of electronic music were involved. Rhodes, Moog, Farfisa, Hammond and Korg, just to name a few, were all eager to present their newest synthesisers and other gadgets to a growing and promising South American market, spearheaded by Brazil and Colombia.The ship with the goods set sail on the 20th of March on a calm morning and mysteriously disappeared from the radar on the very same day. One can only imagine the surprise of the villagers of Cachaço, on the Sao Nicolau island of Cabo Verde, when a few months later they woke up and found a ship stranded in their fields, in the middle of nowhere, 8 km from any coastline.After consulting with the village elders, the locals had decided to open the containers to see what was inside – however gossip as scintillating as this travels fast and colonial police had already arrived and secured the area. Portuguese scientists and physicians were ordered to the scene and after weeks of thorough studies and research, it was concluded that the ship had fallen from the sky. One of the less plausible theories was that it might have fallen from a Russian military air carrier. The locals joked that again the government had wasted their tax money on a useless exercise, as a simple look at the crater generated by the impact could explain the phenomena. “No need for Portuguese rocket scientists to explain this!” they laughed.What the villagers didn’t know, was that traces of cosmic particles were discovered on the boat. The bow of the ship showed traces of extreme heat, very similar to traces found on meteors, suggesting that the ship had penetrated the hemisphere at high speed. That theory also didn't make sense as such an impact would have reduced the ship to dust. Mystery permeated the event.Finally, a team of welders arrived to open the containers and the whole village waited impatiently. The atmosphere, which had been filled with joy and excitement, quickly gave way to astonishment. Hundreds of boxes conjured, all containing keyboards and other instruments which they had never seen before: and all useless in an area devoid of electricity. Disappointment was palpable. The goods were temporarily stored in the local church and the women of the village had insisted a solution be found before Sunday mass.It is said that charismatic anti-colonial leader Amílcar Cabral had ordered for the instruments to be distributed equally in places that had access to electricity, which placed them mainly in schools. This distribution was best thing that could have happened - keyboards found fertile grounds in the hands of curious children, born with an innate sense of rhythm who picked up the ready-to-use instruments. This in turn facilitated the modernisation of local rhythms such as Mornas, Coladeras and the highly danceable music style called Funaná, which had been banned by the Portuguese colonial rulers until 1975 due to its sensuality!The observation was made that the children who came into contact with the instruments found on the ship inherited prodigious capabilities to understand music and learn instruments. One of them was the musical genius Paulino Vieira, who by the end of the 70s would become the country´s most important music arranger. 8 out of the 15 songs presented in this compilation had been recorded with the backing of the band Voz de Cabo Verde, lead by Paulino Vieira, the mastermind behind the creation and promulgation of what is known today as “The Cosmic Sound of Cabo Verde”.
V.A. - African Scream Contest Volume 2
V.A.
African Scream Contest Volume 2
2LP | 2018 | EU | Original (Analog Africa)
31,99 €*
Release:2018 / EU – Original
Genre:Organic Grooves
A great compilation can open the gate to another world. Who knew that some of the most exciting Afro-funk records of all time were actually made in the small West African country of Benin? Once Analog Africa released the first African Scream Contest in 2008, the proof was there for all to hear, gut-busting yelps, lethally welldrilled horn sections and irresistibly insistent rhythms added up to a record that took you into its own space with the same electrifying sureness as any favourite blues or soul or funk or punk sampler you might care to mention.Ten years on, intrepid crate-digger Samy Ben Redjeb unveils a new treasuretrove of Vodoun-inspired Afrobeat heavy funk crossover greatness. Right from the laceratingly raw guitar fanfare which kicks off Les Sympathics’ pile-driving opener, it’s clear that African Scream Contest II is going to be every bit as joyous a voyage of discovery as its predecessor. And just as you’re trying to get off the canvas after this one-punch knock out, an irresistible Afro-ska romp with a more than subliminal echo of the Batman theme puts you right back there. Ignace De Souza and the Melody Aces’ “Asaw Fofor" would’ve been a killer instrumental but once you’ve factored in the improbably-rich-to-the-point-of-being-Nat-King-Cole-influenced lead vocal, it’s a total revelation.
V.A. - Afro-Beat Airways Volume 2
V.A.
Afro-Beat Airways Volume 2
2LP | 2013 | EU | Original (Analog Africa)
22,99 €*
Release:2013 / EU – Original
Genre:Organic Grooves
From the coastal cities of Accra and Cape Coast, basked in a tropical sound heavily influenced by highlife, to the semi-Saharan cities of Tamalé and Bolgatanga (part of a self-proclaimed 'Islamic Funk Belt') via the central city of Kumasi, Analog Africa has criss-crossed Ghana in search of rare tracks for the Afrobeat Airways series.
Antonio Sanches - Buli Povo!
Amara Toure - Amara Toure 1973 - 1980
Amara Toure
Amara Toure 1973 - 1980
2LP | 2015 | EU | Original (Analog Africa)
21,99 €*
Release:2015 / EU – Original
Genre:Organic Grooves
The enigmatic Amara Touré from Guinée Conakry finally getting a well deserved compilation showcasing all of the 10 songs ever released between 1973 and 1980. Cuban influenced music of a different kind featuring amazing spaced-out guitar works!!Analog Africa compiles a complete collection of Amara Touré’s Afro-Cuban compositions, originally released between 1973 and 1980.
Verckys & Orchestre Vévé - Congolese Funk, Afrobeat and Psychedelic Rumba
Verckys & Orchestre Vévé
Congolese Funk, Afrobeat and Psychedelic Rumba
2LP | 2014 | EU | Original (Analog Africa)
21,99 €*
Release:2014 / EU – Original
Genre:Organic Grooves
Analog Africa has the privilege to present 11 tracks by Verckys et L’Orchestre Vévé at the height of their most funky capabilities. Compiled over the course of many years in a land of hardship, we welcome you to the grooviest era of the Congo!
Diablos Del Ritmo - The Colombian Melting Pot 1960 - 1985 Part 2
Diablos Del Ritmo
The Colombian Melting Pot 1960 - 1985 Part 2
2LP | 2012 | EU | Original (Analog Africa)
20,99 €*
Release:2012 / EU – Original
Genre:Organic Grooves
There are a number of theories as to how, in the mid-20th century, African music made its way to Colombia’s vibrant port city of Barranquilla, today's mecca of Caribbean tropical music flled with the chaos of loud music, frenetic taxis, delicious Sancocho soup aromas and a charminglycolourful aura. Some maintain that a man named “Boquebaba” remains responsible. Others claim that seafaring traders and merchants imported the frst sizeable amount of African vinyl.An absolute certainty is that in March 2007 Analog Africa founder Samy Ben Redjeb arrived in Barranquilla, by some still considered the “Golden Gate of Colombia”. Unaware the impact it would have, he brought along several African records to be used as trading currency for Colombian music. Ben Redjeb’s collection allowed contemporary diehard music collectors to fnally hold their cherished records and learn the real names of many of their favourite songs, which they had heard through coastal sound systems for nearly three decades. In return, the gesture opened pathways to depths of Colombian music the likes of which he would not have encountered otherwise.After half a decade in which seven expeditions were made to Barranquilla, Analog Africa is honoured to present “Diablos del Ritmo,” an anthology of - and tribute to - the immense sound of 1970s Colombia. Thousands of records were collected, boiling down to a colourfully diverse selection of 32 tracks (available on double CD, 2 x double LP and digital format), split between Afrobeat, Afrofunk, Psychedelia-inspired rhythms on Part 1 and an array of danceable tropical rhythms on Part 2.Perhaps nothing epitomizes the lush tropical character of Colombia’s Caribbean coast more than Barranquilla’s carnival, the city's most important cultural event. The pridefully celebrated occasion was once a grand stage on which record labels of the ‘70s would competitively showcase their best material for the frst time to an endearing public. Competitions continue to take place these days to crown the collector with the most exclusive tracks - and some have been won in recent years with records provided by Analog Africa’s founder. This sort of exchange between African and Colombian music typifes what was happening beneath the surface in 1970s Colombia.Colombian music in general, especially the music from the Caribbean coast, is heavily infuenced by the drums, percussion and chanting of African rhythms. Music from big players of the day – from Nigeria, Congo, Ivory Coast and Cuba - entered Barranquilla constantly. Afrobeat, Terapia and Lumbalú clashed efortlessly with the tropical sounds of Puya, Porro, Gaita, Cumbiamba, Mapelé and Chandé to create a rich amalgam of irresistible dance music while traditional styles were refned by an elite cadre of accordion players that included Alejandro Duran, Alfredo Gutierrez, Calixto Ochoa, Anibal Velasquez and Andres Landero.Signifcantly, Colombia is home to the largest black population in the Hispanic world and second only to Brazil in Latin America. And, as such, communities of African descendants, like the Champetuos and the Cimarrones, were empowered by the thick African ether consuming the country, and stirred the musical melting pot even more. The heights Afro-Colombian music had reached by the early ‘80s was nothing short of exceptional. But, none of it could have been possible without two vital engines. One was the Picó sound systems - roaming street clubs dedicated to mobilizing and spreading the rawest music of Africa, the Caribbean and the rest of the transatlantic black world. The second were forwarding-thinking producers. Discos Tropical, named after the palm tree-flled tropical character of Barranquilla, Felito Records and Machuca, amongst several other key players, governed and diversifed the psychedelic and coastal music scene of Colombia.
Camarao - The Imaginary Soundtrack To A Brazilian Western
Bitori - Legend Of Funana - The Forbidden Music Of The Cape Verde Islands
Bitori
Legend Of Funana - The Forbidden Music Of The Cape Verde Islands
LP | 2016 | EU | Original (Analog Africa)
21,99 €*
Release:2016 / EU – Original
Genre:Organic Grooves
Bitori (Ferro Gaita's teacher) has long been overlooked. The time has come to put the spotlight back on the 'Legend of Funaná.Originally recorded in 1998 in Rotterdam, the album 'Bitori Nha Bibinha' revolutionized the uplifting 'funana' genre from the Cabo Verdian island Santiago. The album is named after bandleader Bitori, who is hailed for his unique style on the gaita diatonic accordion.In the early 50's, Victor (Bitori) Tavares embarked to the island of Sao Tomé & Principe and returned to Cabo Verde with an accordion. Self taught, Bitori developed his own style, an infectious blaze, that quickly caught the attention of the older generation on Santiago Island. Initially the rural accordion-based sound of funaná was banned and frowned upon. Following Cape Verde´s independence in 1975 the sound spread like a wildfire. Analog Africa's founder Samy Ben Redjeb has been preparing to release this signature ablum for a while and happy to reunite three of the original musicians on this album, plus groove meastro Jorge Martins of Buli Mundo and explosive talentAntonio Sanches.
Orchestre Poly-Rythmo De Cotonou - The Skeletal Essences Of Afro Funk
Orchestre Poly-Rythmo De Cotonou
The Skeletal Essences Of Afro Funk
2LP | 2013 | EU | Original (Analog Africa)
21,99 €*
Release:2013 / EU – Original
Genre:Organic Grooves
Take funk, soul, psychedelia and rumba, mix it up with a thick dose of heavy local rhythms and throw everything in a Benin grinder. The brew is then mixed up with hypnotic Farfisa solos, gritty guitar riffs, distorted bass lines, warm horns and the result, of exorcizing proportion, will lead to frenetic body movements. Some people bang their heads, others jerk their feet or feel an urgent need to get up and start shaking their hips. One thing is common, though, to everyone who submits their ears to a spinning record by the mighty Orchestre Poly-Rythmo de Cotonou: you simply can't stand still. And this new compilation is proof of that - here are 14 funky tracks by the legendary ensemble from Benin that has been deemed as "West-Africa's best kept secret," or as the "The D.N.A. of voodoo groove".
V.A. - Bambara Mystic Soul
V.A.
Bambara Mystic Soul
2LP | 2011 | EU | Original (Analog Africa)
22,99 €*
Release:2011 / EU – Original
Genre:Organic Grooves
For its commemorative 10th release, Analog Africa indulges in Burkina Faso, one of the jewels of the Sahel, a harsh and arid strip that straddles the southern Sahara, stretching from Dakar in the west to Djibouti in the east. Formerly known as Haute Volta, Burkina Faso's sound was organized and nurtured during the country's time as part of a vast patchwork making up French colonial West Africa.
V.A. - Legends Of Benin
V.A.
Legends Of Benin
2LP | 2009 | EU | Original (Analog Africa)
22,99 €*
Release:2009 / EU – Original
Genre:Organic Grooves
A collection of super rare and highly danceable masterpieces recorded between 1969 - 1981 in Benin!
Orchestre Poly-Rythmo De Cotonou - The Vodoun Effect
Orchestre Poly-Rythmo De Cotonou
The Vodoun Effect
2LP | 2008 | EU | Original (Analog Africa)
21,99 €*
Release:2008 / EU – Original
Genre:Organic Grooves
Orchestre Poly-Rythmo de Cotonou is West Africa's best-kept secret. Their output, both in quantity & quality was astonishing, thrived by mixing the coolest parts of funk, soul, latin & vodoun rhythms into a new sound!
Hamad Kalkaba And The Golden Sounds - Hamad Kalkaba And The Golden Sounds
Los Camaroes - Resurrection Los Volume 1
Los Camaroes
Resurrection Los Volume 1
LP | 2017 | EU | Original (Analog Africa)
27,99 €*
Release:2017 / EU – Original
Genre:Organic Grooves
Cameroon, 1978: it’s like any good western movie. A man drifts through the plains at the furthest edge of the country in search of two former gunslingers, hoping to coax them out of retirement for one last showdown. Except this time, the weapons are guitars and the gunslingers are Jean Gabari and Messi Martin – the calm sheriff and his hot-headed deputy – who had led the band Los Camaroes to superstardom at the beginning of the decade.Los Camaroes emerged at the end of the 1960s from the town of Maroua in the northern, predominantly Islamic area of Cameroon. After changes in name, in lineup and in management, they worked their way south to the capital to make a name for themselves, in the span of only a few years they changed Cameroon’s music scene forever, leaving a trail of sold-out nightclubs and monster radio hits in their wake. Then, at the height of their popularity, they broke up.The band had been led from the beginning by Jean Gabari, whose level-headedness and evenhandedness inspired the respect and devotion of his musicians. But it was Gabari’s alchemical collaborations with guitarist Messi Martin that drove the band to its greatest heights. Martin had developed an innovation that would earn him fame throughout Cameroon as the “king of Bikutsi”, as Johnny Cosmos explains:“The primary instrument in Bikutsi is the balafon, and Messi came up with a trick that consisted of chewing small pieces of paper until they reached the right consistency and then stuck them between the strings of the guitar. This trick, which made a guitar sound like a balafon, catapulted him to stardom and turned him into the founder of Modern Bikutsi.” (Check the song “Bezimbi” to hear Messi Martin´s wizardry on a Bikutsi tune)Martin’s extraordinary talents were matched by a character of great unpredictability. He had been lured away from the band before by the promise of success and, in 1975, when Los Camaroes were at the peak of their power, he left them once again. Gabari tried to keep the band going, but his own longstanding battles with ill health eventually forced him to return to his hometown. With Gabari and Martin gone, the rest of the musicians drifted away in search of other gigs. By 1978, Los Camaroes were no more than a rapidly fading memory.But then came the resurrection.From out of nowhere, a businessman named Atangana Joseph appeared in northern Cameroon. His goal: to track down the original members of Los Camaroes and get them back together for their one final shot at immortality. The musicians reconvened at the legendary Mango Bar in the capital city of Yaoundé, the very place where, years earlier, they had established their reputation as one of Cameroon’s most fearsome live bands.Producer Nicolas Mongué and engineer Emmanuel Guyssot were called in from Douala to record what was being billed as a comeback album. There was talk of going into a studio, but Los Camaroes had always thrived on the energy of the nightclub scene, they decided instead to record it live to two-track in the Mango Bar.The six tracks on the album were performed by a mixture of new recruits and veterans from the original Camaroes lineup – including Mpouli “Dodo” Emmanuel and Boloko Michel on Guitars, Eyango Claude on Organ, the percussion duo of Ndi Bellui and Enama Leon, and vocal contributions from Sala Bekono Joseph and Ngoebang Jean Marie – but the urgent rhythms and shimmering guitars sound like a band who simply picked up where they had left off. It seemed that everyone on the record was inspired by the exhuberant reunion between Martin and Gabari, the two magicians from which Los Camaroes had been born and born againThe album, Resurrection Los Vol. 1, was completed in only a few days. There would be no Volume 2. The music that emerged during the Mango Bar sessions was the culmination of a fifteen year musical bond between Gabari and Martin, and what was supposed to be a comeback album ended up being a last testament — Gabari would die only a few years later and Martin, without his foil, would never find the same level of musical success. Even at the time, these two titans of Cameroon’s music scene seemed to realise it would be the last time they would ever work together. The resurrection of Los Camaroes was short-lived … but it produced a masterpiece.The Analog Africa Dance Edition reissue of Resurrection Los was remastered by Frank Merritt at the Carvery and comes with a wonderful poster housed in a deluxe gatefold sleeve featuring the story of the band as told by original keyboardist Mbambo “Johnny Cosmos” Simon, as well as new interviews with the production team who supervised the now legendary Mango Bar sessions. This essential slab of Cameroon’s musical history, previously unreleased outside of Africa, is available on LP for the first time since 1979.
Mestre Cupijo E Seu Ritmo - Siria
Mestre Cupijo E Seu Ritmo
Siria
CD | 2014 | EU | Original (Analog Africa)
15,99 €*
Release:2014 / EU – Original
Genre:Organic Grooves
Analog Africa are ferociously proud and honoured to have the chance to present these carefully selected tracks from Mestre Cupijó’s six studio albums.
Diablos Del Ritmo - The Colombian Melting Pot 1960 - 1985 Part 1
Diablos Del Ritmo
The Colombian Melting Pot 1960 - 1985 Part 1
2LP | 2012 | EU | Original (Analog Africa)
22,99 €*
Release:2012 / EU – Original
Genre:Organic Grooves
There are a number of theories as to how, in the mid-20th century, African music made its way to Colombia’s vibrant port city of Barranquilla, today's mecca of Caribbean tropical music flled with the chaos of loud music, frenetic taxis, delicious Sancocho soup aromas and a charminglycolourful aura. Some maintain that a man named “Boquebaba” remains responsible. Others claim that seafaring traders and merchants imported the frst sizeable amount of African vinyl.An absolute certainty is that in March 2007 Analog Africa founder Samy Ben Redjeb arrived in Barranquilla, by some still considered the “Golden Gate of Colombia”. Unaware the impact it would have, he brought along several African records to be used as trading currency for Colombian music. Ben Redjeb’s collection allowed contemporary diehard music collectors to fnally hold their cherished records and learn the real names of many of their favourite songs, which they had heard through coastal sound systems for nearly three decades. In return, the gesture opened pathways to depths of Colombian music the likes of which he would not have encountered otherwise.After half a decade in which seven expeditions were made to Barranquilla, Analog Africa is honoured to present “Diablos del Ritmo,” an anthology of - and tribute to - the immense sound of 1970s Colombia. Thousands of records were collected, boiling down to a colourfully diverse selection of 32 tracks (available on double CD, 2 x double LP and digital format), split between Afrobeat, Afrofunk, Psychedelia-inspired rhythms on Part 1 and an array of danceable tropical rhythms on Part 2.Perhaps nothing epitomizes the lush tropical character of Colombia’s Caribbean coast more than Barranquilla’s carnival, the city's most important cultural event. The pridefully celebrated occasion was once a grand stage on which record labels of the ‘70s would competitively showcase their best material for the frst time to an endearing public. Competitions continue to take place these days to crown the collector with the most exclusive tracks - and some have been won in recent years with records provided by Analog Africa’s founder. This sort of exchange between African and Colombian music typifes what was happening beneath the surface in 1970s Colombia.Colombian music in general, especially the music from the Caribbean coast, is heavily infuenced by the drums, percussion and chanting of African rhythms. Music from big players of the day – from Nigeria, Congo, Ivory Coast and Cuba - entered Barranquilla constantly. Afrobeat, Terapia and Lumbalú clashed efortlessly with the tropical sounds of Puya, Porro, Gaita, Cumbiamba, Mapelé and Chandé to create a rich amalgam of irresistible dance music while traditional styles were refned by an elite cadre of accordion players that included Alejandro Duran, Alfredo Gutierrez, Calixto Ochoa, Anibal Velasquez and Andres Landero.Signifcantly, Colombia is home to the largest black population in the Hispanic world and second only to Brazil in Latin America. And, as such, communities of African descendants, like the Champetuos and the Cimarrones, were empowered by the thick African ether consuming the country, and stirred the musical melting pot even more. The heights Afro-Colombian music had reached by the early ‘80s was nothing short of exceptional. But, none of it could have been possible without two vital engines. One was the Picó sound systems - roaming street clubs dedicated to mobilizing and spreading the rawest music of Africa, the Caribbean and the rest of the transatlantic black world. The second were forwarding-thinking producers. Discos Tropical, named after the palm tree-flled tropical character of Barranquilla, Felito Records and Machuca, amongst several other key players, governed and diversifed the psychedelic and coastal music scene of Colombia.
Orchestre Poly-Rythmo De Cotonou - Echos Hypnotiques
Orchestre Poly-Rythmo De Cotonou
Echos Hypnotiques
2LP | 2009 | EU | Original (Analog Africa)
22,99 €*
Release:2009 / EU – Original
Genre:Organic Grooves
Four years in the making, Analog Africa finally presents the second volume of Africas funkiest band, the mythical Orchestre Poly-Rythmo de Cotonou.
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Analog Africa Vinyl, CD & Tape

Analog Africa ist ein 2004 von Samy Ben Redjeb gegründetes, auf Reissues, Raritären und Obskuritäten spezialisiertes Plattenlabel aus Frankfurt am Main. Die besondere Leidenschaft des Deutsch-Tunesiers Samy Ben Redjeb gilt dabei afrikanischen Aufnahmen der sechziger und siebziger Jahre. Vor allem die Vermischung westlicher Instrumente mit jahrhundertealten afrikanischen Musikrichtungen interessiert ihn. Über 30.000 Platten haben sich so in den Jahren bei ihm angesammelt, ehe er sein Hobby zum Beruf gemacht hat. Von Vorteil ist, dass er sechs Sprachen spricht: Neben Deutsch und Arabisch auch Französisch, Italienisch, Englisch und Spanisch. Es sind die Sprachen der ehemaligen Kolonialisten, die dem 1961 geborenen Ben Redjeb den Zugang zu Land und Leuten erleichtern. Den Grundstein für sein Label legte er 2004 mit der Veröffentlichung von Liedern der simbabwischen Band The Green Arrows. Die Gruppe um Sänger Zexie Manatsa war zu Beginn der Siebziger einer der berühmtesten des Landes. Analog Africa geht es also um die Wiederentdeckung verlorener musikalischer Schätze als auch um die Vermittlung von Musikgeschichte. Den Veröffentlichungen von Analog Africa liegt daher stets ein ausführliches Booklet bei.

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