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Oom Dooby Dochas Vinyl, CD & Tape 5 Artikel

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Osamu Kitajima - Benzaiten
Osamu Kitajima
Benzaiten
LP | 1976 | EU | Reissue (Oom Dooby Dochas)
19,90 €*
Release:1976 / EU – Reissue
Genre:Rock / Indie
World music and ethno sounds with an obvious Japanese origin meet progressive rock and psyche. The result is a captivating piece of melodic and deeply atmospheric music that paints pictures of life in ancient Japan into your mind when you lay back, close your eyes and listen closely with your thoughts turned off. If PINK FLOYD were Japanese their music might have sounded like that. The frequency of the arrangements on „Benzaiten“ reminds of what our English heroes have created in the early to mid 70s just with a different ethnical approach. „Benzaiten“ is even a more progressive effort than anything most British bands have ever managed to fabricate and still utterly natural and vivid concerning the flow of the music. All participating musicians here are professionals and their performances are tight and still passionate. The sound is warm and vivid, the song structures are wide open and welcome you to slip inside. East meets West on this record and Osamu Kitajima and his companions really grab you by the soul. Electronic elements in the percussion section add some oddity to the whole musical picture. Not sure what Osamu Kitajima and his band intended when they recorded this record but I am certain they achieved it. The cool aspect of „Benzaiten“ is the rocking guitar which keeps the whole album together. Must be the Japanese pendant to German acts like AMON DÜÜL II, EMBRYO and GURU GURU. Well, there is definitely some truth in this comparison. Anyway, this album will enchant you!
Geraldo Pino & The Heartbeats - Afro Soco Soul Live
Geraldo Pino & The Heartbeats
Afro Soco Soul Live
LP | 1972 | EU | Reissue (Oom Dooby Dochas)
19,99 €*
Release:1972 / EU – Reissue
Genre:Organic Grooves
He was born in Sierra Leone in the 1930s. Fact is that Gerald Pine was son to a lawyer working in Nigeria, lost his mother and sister at a very young age and found relief in music. He played social clubs by the early 60s with his newly founded band THE HEARTBEATS delivering cover-versions of American hits and Congolese rumba tunes that were then utterly popular in the West Africa area. Due to the influence of Congolese popular musicians Franco and Dr. Nico he adopted the more exotic sounding stage name of Geraldo Pino and he moved on from there. THE HEARTBEATS literally played until their fingers bled in popular night clubs in Sierra Leone, became one of the highest earning bands of Western Africa and were even able to put up their own television show after television had been introduced in Sierra Leone in 1962. All those developments put Geraldo Pino and his band in the position as leading figures in the African popular music that even a legend such as Nigerian cult musician Fela Kuti, who is often credited with originally creating the so called “Afro Beat” style stated Geraldo Pino and THE HEARTBEATS as major influence which even made him setting sail to the USA to introduce his musical vision over there for he could not match with Geraldo Pino concerning popularity in Africa. This of course is a whole different story. Geraldo Pino lived and played in his area, Sierra Leone, Ghana, Nigeria and created some of the hottest funky sounds with sophisticated sound gear, outstanding clothing and songs that made your blood boil. After a few 7” releases throughout the 1960s the first real album of GERALDO PINO & THE HEARTBEATS hit the scene in 1972. “Afro soco soul live” is as the title suggests an album that has been recorded at a concert and Geraldo Pino often communicates with the utterly enthusiastic audience, gives longer announcements between the songs or introduces his lead guitarist before he starts a simmering solo. All songs here have an average length of six minutes and despite their composed parts they show this free jammy flow. The basic style is funk with soulful vocals which gets mixed up with traditional African percussion grooves. This album swallows you with its mesmerizing rhythms. It's afro funk at best with a frantic atmosphere whirling up from the ever flashing percussive arrangements. The funky Hammond B – 3 organ is omnipresent on all the tracks and duels with the wild and completely unleashed lead guitar from time to time. Repetative chord progressions and harmonies decorate the solid rhythmmical base and deprive you of your senses while you get deeper and deeper into a trance like state moving and floating along on the dancefloor. Due to the crisp and clear sound this record gives you the feeling of being right at the scene, everything sounds and feels so vivid, even after more than four decades. So it is no wonder that this record is a popular gem in Western Africa but how is the reception from the European and American fans of furious funk music? Well, Geraldo Pino has become a legend in his home area but just a short time before his death in 2008 people from the Western World really discovered him and his amazing band. Original copies of this album go for several hundred USD if they ever turn up. So a reissue of this sacred gem of African funk music from the early 70s has been long overdue. A record that is made to let dancefloors smoke and tremble and the musicianship is sheer amazing!
Akwassa - In The Groove
Akwassa
In The Groove
LP | 1977 | EU | Reissue (Oom Dooby Dochas)
19,99 €*
Release:1977 / EU – Reissue
Genre:Organic Grooves
First official reissue ever! Nigeria had an utterly strong popular music scene in the 1970s, “Afro Beat” and “Afro Funk” were the hottest musical creations of the day and garage rock oriented bands like OFEGE or funky monsters AKWASSA were at the forefront of the movement. I deliberately call it their second album despite three albums that were released under the monicker HEADS FUNK BAND with exactly the same line up as AKWASSA from 1975 to 1978. However, the main difference between “In the groove” and the earlier records is a more slick and polished feeling and a strong reggae element. Next to this, there are definitely a few more up to date disco funk influences that outweigh the classic raw streetfunk we could find on the predecessors of “In the groove”. So the development in sound and style is obvious. 'In the Groove' has a more easy, more relaxed feeling. The atmosphere is bright and certainly reaches out for a wider audience. AKWASSA were stars in their palce. “In the groove” was a perfect album that would appeal to each and every fan of funky music. All the members of AKWASSA stayed with music after the band dissolved in the late 70s, some of them until recent years, others straight up into the 80s or 90s. Even though this important Nigerian band called out it's quit somewhen, they left a rich legacy of music! Colorful and inspiring this album is made to last forever due to the memorable hooks and harmonies. While collectors spend 1.000 EUR for original copies, an official reissue of this monster rarity was overdue and Afro Funk lovers around the world will leap for joy as nearly all tunes could be played in a row to set the dancefloor ablaze!
Kiki Gyan (Ex-Osibisa) - Feeling So Good
Kiki Gyan (Ex-Osibisa)
Feeling So Good
LP | 1979 | EU | Reissue (Oom Dooby Dochas)
19,99 €*
Release:1979 / EU – Reissue
Genre:Organic Grooves
First time reissued on vinyl! This is in fact more than just a rare record and definitely more than just a vinyl share for insatiable collectors who only judge a record by it's monetary value. This is a prime example of overflowing talent coupled with a simmering passion for music and the hunger for life right at the moment. The story begins on Jue 7th 1957 in a small Ghanaian village where Kofi Kwarko Gyan, nicknamed Kiki, was born into a middle class family. Soon his talent as a musician began to show when he started taking piano lessions by the age of 5 and went professional by the age of 12. He dropped out of school shortly after and began living a life on the road with regional Ghanaian bands. One trip abroad took him to London in the early 70s where his career received a giant push at the age of 15. He joined afro rock legends OSIBISA in 1972 as their new keyboardist after his predecessor had left the band. By the mid 70s Kiki Gyan had played with OSIBISA to giant audiences allover the world and met personalities from the international music scene such as Elton John and Mick Jagger. He was not only a steady keyboardist for OSIBISA but also a very popular session man for fellow African bands and musicians, among them OFEGE from Nigeria. He released a couple of solo albums and we take a closer look now at his second effort from 1979, “Feeling so good”. The music keeps what the title promises as this is a delightful example of joy manifesting in music. Everything is bright here, the grooves are complex and powerful, yet always accessible. The harmonies enchant you with their friendly approach. The African sun shines from each note played on this record. Gyan mixes Western disco sounds, funk, African traditional chants and reggae sounds into an ever flowing groove music that has lot's of melody and mesmerizes by the swirling percussion patterns. “Feeling so good” is an equally physical and spiritual affair and contains six lengthy tunes. Tunes that live from the tight interplay of all instruments, the crisp, clear and powerful production and a wild and steaming atmosphere. Kiki Gyan was on the step of entering the 'Hall of Legends' like Stevie Wonder did, to whom he often got compared to. His legacy remains huge, not only for African music but for all black music that ruled the early disco scene in the 70s and whose popularity is still at full blossom. Next to Fela Kuti and Geraldo Pino, Kiki Gyan can be called a true force in African pop music of the 70s!
Osamu Kitajima - Osamu
Osamu Kitajima
Osamu
LP | 1977 | EU | Reissue (Oom Dooby Dochas)
18,99 €* 19,99 € -5%
Release:1977 / EU – Reissue
Genre:Organic Grooves
This is the third album by Osamu Kitajima, one of Japan's most prolific artists from the ethno rock, world music and progressive department. You can certainly not divide all the mentioned stylistic aspects from each other for they were all incorporated in a homogenious sound and complex arrangements. It is the same with his other albums like „Benzaiten“ and or his fourth „Masterless Samurai“; traditional Japanese music meets Western jazzrock and progressive sounds to form a new style unheard by most people in Western countries at the time. Osamu Kitajima easily plays with elements of reggae and funk, fusion jazz and colorful pop while staying true to his Japanese roots with bits and pieces of traditional melodies and the use of old Asiatic instruments. The Japanese influence makes this music uniqe and still it gets as close to Western rock and pop sounds as it could. An adventurous journey through the world from East Asia to West Africa and to the steaming metropolises of the UK and USA is your reward when you put this perfectly produced album onto your turntable. The former PINK FLOYD comparison coming with „Benzaiten“ is not totally out of place with this selftitled 1977 album here but there is much more latitude in the allover style. Osamu Kitajima gathers a few well talented musicians around him on this record despite playing and arranging most of the instrumental passages himself. He, the multi instrumentalist who discovered progressive rock music in the early 70s during a stay in London where he released a first album under the monicker „Justin Heathcliff“ before moving to California around the mid 70s. And this group of musicians creates something special that sticks out of the mass of similar art pop and fusion bands in the late 70s. Osamu Kitajima is something like the Japanese answer to Mike Oldfield, and others equal in vision and output!
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