Analog Africa does it again! The hardest working Afro-beat reissue label brings us another amazing comp of psych-tinged, long-lost Afro-beat, this time from Ghana and Togo recorded between 1972-1979. Raw, sultry, and totally ass-shaking, pretty much all of the tracks have never been released outside the region. Funky Latin rhythms, organ-driven psych, and cosmic soulful percussive trance-outs by 11 bands. Comes with amazing 44 page booklet with pictures and histories. Wow, deluxe package, incredible music. We can go on, but do we really need to? Analog Africa hasn't let us down yet. 100 percent Solid! Trust.
Kona records presents a new collection of Afro-Soul and Funk tracks taken from the late sixties to the early seventies. 11 tracks from 11 groups that arose out of the Pan African identity movement in the 60's, hailing from Sierra Leone, Kenya, Zaire, Ghana and elsewhere. Super tight, ready to explode afro-funk tracks that will make your butt shake are what you can expect when you put this
It takes a lot more than just a killer collection of songs to make an amazing compilation, and leave it to Tompkins Square, generally no slouches in the comp curating department, to come up with this curiously themed focus on affairs of the heart, in particular, the strange corner of human nature the impels and compels us to pursue romance, and love, even when the relationship seems doomed from the outset. A base human instinct not to just to find love, but to often look for it in all the wrong places. And to commemorate those lost loves and tragic encounters in song.
These prewar tunes, include music from the Cajun bayous, the mountains of Eastern Europe, and rural America, focusing on various nationalities who emigrated to America, only to form super strong enclaves, with a mind to preserve their cultural heritage, one part of which was various traditions of courtship and marriage, traditions that were quite different from one nationality to the next. But as different as those traditions were, the emotions, the feelings of love and longing, of sorrow and hopefulness, are of course universal, and were again, immortalized in music, a music that is at once festive and celebratory, but often with a subtle underpinning of sadness, the sounds are a mix of European folk, country music, bluegrass and gypsy music, lots of fiddles and strings, emotive vocals, wild melodies, there's plenty of blues too, cuz if one thing we all know, love can give a person the blues something bad, so Dock Boggs and his banjo spin a tale of "False Hearted Lover Blues", the Stoneman Family mix some gospel vocals and some wheezing accordion into their sweet country twang, Emry Arthur laments the fact that "She Lied To me", and in between the blues are endless variations on string music, polkas, hoedowns, wedding dances, it's a heady mix, that's fun to listen to, even when the subject matter is heartbreak and misery.
There's no shortage of old timey comps, but this one is most definitely a gem, musically AND thematically.
Gorgeously packaged in an oversized soft cover book style sleeve, with a massive 60 page booklet, filled with rare photos, extensive liner notes, lyrical translation, and gorgeous original illustrations by Robert Crumb.
MPEG Stream: DOUGLAS BELLARD & KIRBY RILEY "Aimer Et Perdre (To Love And To Lose)" [/audio/vaaimeretperd1.m3u]
This long in the works collection finally sees the light of day. The long lost Haiti recordings, gathered by the legendary Alan Lomax, who made these recordings over the span of about a year, from 1936 until 1937, when he and his wife were documenting music and rituals for the Library Of Congress. Recorded direct to aluminum disc (a total of over 500 discs), these recordings had been unheard by the public, ever since. The original recordings have been painstakingly restored, and they sound fantastic, most of the noise stripped away, without losing any of the music, and if anything, according to the compilers, the music sounds even better now, and closer to the sounds Lomax was actually hearing when he originally recorded these.
It's a pretty overwhelming collection, that invites hours and hours of listening, which we think most folks will happily offer, once they get just a glimpse of the sounds within, from street musicians, to children's songs, far out jazz to dreamy vocal music, classical piano to angelic torch songs, voudou worship to big band, just check out the samples for a little taste, an incredible collection of sounds, which have gone almost completely unheard for the last 70 years!!
Anyone into field recordings, and world music, if you dig the Sublime Frequencies series, the Yaala Yaala series, the Ethiopiques series, this music is amazing, another long overdue glimpse of a people and place, and their music, and that music says so much about the time, the life in Haiti, the politics, and how the rest of the world felt about Haiti, you can hear the influences of various musics from all over the world, the music here is more than just music, it's a sonic exploration of a time and a place, and the sounds are so evocative, they almost transport the listener body and soul. Fantastic!!
The box is gorgeous too, a linen covered hard box, printed on the cover, with a faux Haitian stamp, as if Lomax had mailed this box to you personally for safekeeping. Inside the cover is a pocket containing a reproduction of Lomax's Haiti journal, filled with reproductions of his actual notes, observations, drawings, photos and diagrams. The liner notes are housed in a gorgeous hardcover book, all the songs and artists, photos, lyrics, everything. The cds themselves are housed in another little linen covered miniature hardcover book, with printed paper pockets inside, just like a miniature version of the sleeves that old 78s were stored in. Then there's a reproduction of Lomax's Haiti site map, complete with his scrawled notes, and finally, a few photos, as if whoever sent the box, decided to include some snapshots. And all the various books can be removed with the ribbons attached to the inside of the box. Stunning. There's also some film footage, and there's just so much more.
Needless to say, so so so recommended!!!
We haven't had a good Turkish psych compilation in some time and while this covers some pretty familiar ground, there's plenty of stuff new to us to recommend it. Don't let the time range of the music create any doubts, the bulk of this is from 1968-1976 with one song from 1977 (Edip Akbayram & Dostlar) and one from 1983 (Fikret Kizilok, doing a smoky ballad that sounds older than most material on here). Three of the tracks are reissued here for the first time. While there are key hits from Selda, Erkin Koray, Mustafa Ozkent and 3 Hur-el that have been on numerous other releases, the tracks by Baris Manco, Esin Afsar, Umit Tokcan, Nurcan Opel, Galatasaray Lisesi, and Cem Karaca Ve Apslar are all unfamiliar to us, mostly taken from rare 45's and soundtrack records. Lots of heavy rock groove, surfy lounge beat, and smoky soulfulness to make this a highly worthwhile collection for DJs and unusual psych connoisseurs. Just ignore the subpar cover art! On Red Vinyl!
(This was also released as an outrageously expensive cd-r, we passed on those, but figured it was worth it on vinyl.)
One of our favorite mix makers, DJ Andy Votel. One of the most sparkling genres of music ever, Tropicalia. Can't go wrong with this one! Andy Votel is responsible for such AQ fave discs as Prog Is Not A Four Letter Word, Folk Is Not A Four Letter Word, Vertigo Mixed, Welsh Rare Beat, and the recent Well Hung (that killer comp of Hungarian funky fuzz rock we highlighted last list), among many others. Tropicalia? Well that's the late '60 Brazilian musical movement (with political and artistic dimensions as well) that melded psychedelia with Latin rhythms like bossa nova... chances are most AQ customers have some passing familiarity with it, probably having an Os Mutantes, Gilberto Gil or Caetano Veloso reissue or two or more in your collection.
Of those three biggies, only Mutantes appear hear on Votel's Brazilika mix, which should appeal to both Tropicalia fans and the simply curious as well. And of course Votel digs fairly deep to bring some definite obscurities into play, all from the vaults of the Brazilian Som Livre and RGE record labels. Some names: Os Brazoes, Tim Maia, Novos Baianos, Sidney Miller, Trio Soneca, Azimuth... Those familiar with his penchant for heavy, "hairy funk" on his previous mixes won't be surprised that this rocks fairly hard (and also jazzily), full of organ jamming and wah wah fuzz guitar, giving less of a look in to the breezier, more delicate and folky aspects of the Tropicalia sound. So it's not exactly a primer, but if you can untangle which part of each track is by what artist (Votel mashing several into each cut), it should whet your appetite and give you some clues for further reissue exploration. And be a surefire hit at your next party, of course.
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First in a new series from the same label that brought us the Ethiopiques compilations. Influenced by such elements as Congolese highlife and music from Brazil & the Caribbean, some of the musicians here have even worked with such Pan-African stars as Rochereau, Sam Mangwana and Franco. The Zairian style is evident here: lots of lush hollow body electric guitar with tons of reverb. And yet both the Portuguese & Caribbean influences are equally apparent in the melodic lines, and the language - all in Portuguese.
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
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Second in a new series from the same label that brought us the Ethiopiques compilations. Influenced by such elements as Congolese highlife and music from Brazil & the Caribbean, some of the musicians here have even worked with such Pan-African stars as Rochereau, Sam Mangwana and Franco. The Zairian style is also evident here: lots of lush hollow body electric guitar with tons of reverb.
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
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Third in a new series from the same label that brought us the Ethiopiques compilations. So far, *this* installment might be the best of the bunch. Lovely, fun, '70s African pop.
Even if we hadn't already been familiar with the first volume in the Angola Soundtrack series, we would have been pretty curious about this new one. The cover art, to start with: a super psychedelic, color tinted image of four women with spiked out antenna-like hair, and in the foreground, a hulking figure, head shaved and shirtless, wreathed in shadow and smoking a cigar, his belly hanging over his belt, it almost looks like a still from some crazy psychedelic arthouse film, and then there's the compilation's subtitle: Hypnosis, Distortion & Other Sonic Innovations - all right! And while it's maybe not as freaky and far out as all that might lead one to believe, it's still pretty fantastic, and the perfect follow up to the first volume for sure.
The first track should have most folks totally smitten, an instrumental psychedelic groove, all spidery guitar melodies, some wah wah here and there, and a seriously Latin sounding rhythm, which is not all that surprising, considering that we discovered with the first volume, that Latin music was a huge influence on the Angola sound, and that's super obvious throughout volume two as well. As we mentioned in that original review, having no context, we really might have assumed that this music was in fact from Central or South America, but it's that fusion of Latin and African that makes the sound so unique, so vibrant, joyous and alive. A lot of the tracks have a big band Afro-Jazz vibe, but some sound like fuzzed out Afro-Latin garage rock, others more balladic and croony, and still others almost like they could be music from Italian Westerns, but all the tracks here are incredible, from energetic and joyously raucous to moody and melancholic, such fantastic stuff, and like the first volume, on heavy heavy rotation, which as always, is the best recommendation of all...
Like all Analog Africa releases, the packaging is fantastic, the aforementioned cover art, a heavy slipcover. Inside, the disc in a full color digipak, the accompanying book, massive, overflowing with extensive liner notes on the artists, the songs, the region, as well as the music and culture of the time, tons of rare photos too.
If no one told us this music was from Angola, we would have guessed it came from somewhere around Central or South America. A lot of this music reminds us of those great Panama compilations on Soundway, and as it turns out, Angola had the same cross-pollination of Latin-based musical influences from neighboring regions that Panama experienced with African-influenced music during the same time period. This compilation focuses on the electric bands, vanguard singers and the two significant recording companies that led to an explosive scene of musical forces in Angola during the late sixties and early seventies. Traditional African music from the Luanda Islands, psychedelic guitar-based music from neighboring Congo, Latin rhythms, the relentless beats of Carnival music and old school Caribbean Merengue, combine for some uplifting and uproariously joyous music. If you need some movement and heat to cure you of the winter blues, this set is for you!
More fuckin' weird animal sounds? Fuck Yeah!!! You must have noticed by now that we here at Aquarius go a little nuts when we get a good recording of some animals kicking out the hella mad squeals, growls, hoots, clicks and snorts. And when their sounds are unlike anything we're likely to hear on a walk through the Marin headlands or in Tilden Park, we get pretty excited. What's more, many of the animals on this collection -- for those who haven't heard them before -- sound nothing like what one's intuition would suggest. For instance, who would think that the rhinoceros, weighing in at 2000 pounds and capable of goring any one of us like a twinkie with its horn, would have a larger vocabulary than a series of menacing snorts? But au contraire, the rhino -- as captured here -- has, in its mating call, one of the cutest inquisitive mewls you'll likely ever hear. It sounds almost like it's on the phone giving positive reinforcement to the hippopotamus on the other end complaining about the way the lion has been acting of late. Or how about the Hyrax, a small East African mammal about the size of a rabbit (and a distant relative of the elephant of all things), that makes a loud growling noise not unlike someone trying to start a chainsaw. But that's not all, you get the Vervet monkey with its complex vocabulary announcing to all its mates that a leopard is on the prowl. And not to seem biased towards the primates' side of the story, the producers also included the leopard's growling complaints about the monkeys' behavior. And that's just the beginning! You also get Zebras (they sound a lot more like coyotes or dogs than horses), Wildebeest (think frogs), Lion (say no more), Hyena (god, hyenas are freaks! no matter how many times you hear them, they never lose their charm), Wild-Dog (someone scrubbing a plate glass window clean with a gerbil), Silver-Backed Jackal (parrot?), Elephant (elephant), and last -- but certainly not least -- the hippopotamus (on the other end of the line with the rhino.) Originally released by Nonesuch as part of their Explorer series in 1973, it'd take the most tenacious DJ to find a copy of this on vinyl so pick it up on disc today. Absolutely essential!
When our Andee was away on his vacation to Finland last year he got turned on to this compilation of early ('60s/'70s) Finnish experimental music. It also has been getting a good deal of airplay on our favorite radio station, New Jersey's wonderful WFMU (www.wfmu.org, tune in!). So, now we're real happy to have finally gotten this in stock, and felt it deserved Record Of The Week status for several reasons: it's Finnish, it's fucked, and it's also of historical import. Mainly, though, it's just fucked. In that fun way we at AQ totally dig. Sure, "Arktien Hysteria" (translation: Arctic Hysteria, if you couldn't guess) is all experimental and avantgarde but definitely not super serious -- heck, it starts out with a veritable symphony of burps, and one of the best artists on here is known as The Sperm. These tracks tend to feature (one or more of the following): early "sampling" cut-ups, druggy proto-punk psychedelic rock freedom, free jazz noise, groovy oddball electronics n' drone, conceptual flux, and vocal derangement. Arktien hysteria indeed! The freakouts on here should prove that none of the art-punk noiseniks of today can make a noise that hasn't been made already. Such as the turkey gobbling style sax and maniacal percussion of Jouni Kesti & Seppo I. Laine's "Analysis of Revolution".
Not that it's all zany hijinks, there's abstract soundscape stuff on here too, some of it really dark and weird. Quite a few home-built instruments/machines/synths feature here, along with tape loops galore. Thougth some folks make do though with just sheer frenzied performance gusto. All tracks were taken, we believe, from rare LPs originially released circa 1967-1970 by the legendary Finnish label Love Records. Actually, one cut even dates from as far back as 1961. The cd booklet's got photos and (thankfully) some liner notes in English, though there's more text in Finnish, oh well.
Pan sonic and Circle and Keuhkot and Kemialliset Ystavat and all the rest of Finland's current avant/underground scene start to make a lot more sense when you hear what their aunts and uncles were up to a few decades back, makin' noise at live happenings, or constructing tracks in primitive DIY studios built in their sauna huts. Damn, what a cool compilation. Insane, and arguably essential.
MPEG Download: BLUES SECTION "Shivers Of Pleasure" [/audio/arktinenblues.mp3]
MPEG Stream: BLUES SECTION "Shivers Of Pleasure" [/audio/arktinenblues.m3u]
MPEG Download: JUKKA RUOHOMAKI "Mika Aika On" [/audio/arktinenjukka.mp3]
MPEG Stream: JUKKA RUOHOMAKI "Mika Aika On" [/audio/arktinenjukka.m3u]
Since 1991, Japanese label PSF has brought us six volumes in their essential underground psych-rock-noise-improv sampler series Tokyo Flashback. Now they've released a new compilation that's similarly cool, but broadens its geographic scope to include artists from Korea and China as well as Japan, most of whom we'd never been exposed to before. Some of the only familiar folks appear on the very first track, a live-in-Tokyo "improvised trio showdown" featuring Chinese guitarist Li Jianhong (of the noise band D!O!D!O!D! who have a disc out on PSF, and who also had his own awesome solo cd on aRCHIVE recently) teamed up with free jazz drummer Shoji Hano and High Rise guitarist Narita Munehiro, both from Japan. That's an amped-up freakout as you might expect. There's also a noisy D!O!D!O!D! track on here too, but beyond those, it's all new names to us. From Korea: Mustangs, Kim Young Jin, Amature Amplifier, and Soonie. From China: Mafeisan, Xiao He, Li Daiguo. From Japan: Kiyasu Orchestra, Sato Yukie, Yoshiteru Koga Jizo. Also there's a boy-girl Japanese-Korean project called 10, whose track "U-A-U" is a hissing, droning, throbbing backdrop to bizarre vocal expression.
All the tracks are interesting, it's an eclectic mix of experimental/underground styles, from full-on noise chaos to mellow, minimal acoustic guitar balladry, all sorts of stuff... ferinstance the energetic squawk of Kiyasu Orchestra's psychedelic free jazz exotica sits side-by-side here with the Mustangs' sixties style garage psych rock. And perhaps most surprisingly, there's even a dreamy, indie-folk cover of John Lennon's "Imagine" by Korean chanteuse Soonie at the very end of the disc.
The booklet boasts brief liner notes about each contributor, in four languages (English, Japanese, Korean, Chinese). Let's hope that this Asian Flashback is just the start of another series! PSF's antidote to all the mass market J-pop, K-pop, and HK-pop karaoke blandness out there.
Despite the excruciatingly stupid title (why oh why must the food metaphors constantly arise, as if white people are so ignorant of Asian culture that the only thing they know about it is egg foo young and sweet and sour sauce -- aaaaaaauuuugh), this is an enjoyable compilation of kitschy east-meets-west Asian pop tunes from the '60s and '70s. Most of the tracks feature female
"Asian Travels" documents current strains of optimistic globalism as musical hybrids of the West's downtempo electronica and the East's rich traditions of vocal melodies. Ambient trance, drum & bass, and trip hop all appear in their most basic club-friendly forms alongside Pakistani & Indian vocals, melodic lines, and sitar drones. Featuring Fila Brazillia, Nursrat Fateh Ali Khan & Michael Brook, Banco De Gaia, Shankar, Euphoria, Cheb i Sabbah, Fun Da Mental, and more. Ethno-music for the honky.
Compilation of modern compositions by Sundanese (Western Java) composers, and utilizing a wide variety of instrumentation: from gamelan, traditional Indonesian instruments, western instruments, electronics and tape. A South Eat Asian version of Ussachevsky. Excellent!
*MISSISSIPPI ALERT*
Another awesome vinyl compilation of amazing sounds from the golden era of Ethiopian music, this time culled from Ethiopiques Vols. 24 and 25.
The second you put the needle on the record, you'll be transported, and in fact, the sounds you hear may sound strangely familiar, as legendary Ethiopian vocalist Seyfou Yohannes croons over a track we've definitely heard before, on Ethiopiques 2 we think, but it hardly matters, Yohannes' vocals transform the song completely, still smokey and sexy, but reimagined and reinterpreted. And fantastic!
The bulk of Ethiopian records were produced in a single 10 year period, 500 singles, 30 lps, all produced between 1969 and 1978, of those, the tiny Amha label released 103 two song 45's and a dozen lps, between '69 and '75, collecting various tracks that were attempts to modernize traditional Ethiopian music, without radically altering it. Folk music, wedding songs, nursery rhymes, traditional melodies, songs that have been passed down and passed on over generations, some musics and melodies so revered that they have been officially elevated to the status of "musical modes of reference" by official doctrine(!), all borrowed and reinterpreted by various singers and ensembles over the years.
The tracks here are almost all acoustic, utilizing traditional instruments, as well as piano, mandolin and accordion, but to these ears it sounds fantastic, as good as ever, that sound that is so immediately recognizable as Ethiopian, horns and drums and percussion and handclaps, and of course the voices, it's so much about the vocalists, especially here, soulful croons, female back up vox, lots of call and response, deep and rough, smooth and silky, but always so expressive and emotional and powerful,
But they are all incredible, of course, most of the names are new to us, no Mahmoud Ahmed, no Getatchew Mekurya, a track from Mulatu Astatke, but more folks like Seyfou Yohannes, Ayalew Mesfin, Getatchew Kassa, Tamrat Molla, the sound though is so distinctly Ethiopian, warm languid horns, moody minor key piano, simple shuffling rhythms. and of course the vocals, lush crooning, the perfect compliment to the music's dark sultry mystery. There seem to be two distinct styles represented, the soulful funky slow burning grooves, haunting, late night, sexy, and the more festive and funky, a sort of Ethiopian reinterpretation of American rhythm and blues, with soaring sunshiney melodies, acoustic guitars, and more horns, both are irresistible, and anyone who has even been dabbling in this series or the other Mississippi vinyl reissues, will dig this big time. Just perfect for the impending warm summer days, and lazy summer nights...
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
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Nigerian dance band highlife with a wild edged jauntiness and a go-for-the-jugular instinct for mixing local rhythms and melodies with jazz tinged horn solos and Congo-influenced guitar work.
Gamelan Semar Pegulingan is one of the many now rare gamelan of the island of Bali; displaced by the fall of the Balinese court and the subsequent explosion of gong kebyar. The repertoire of this gamelan, which is named after the god of love (Semar Pegulingan), was specific to two distinct occasions. The most common time in which Semar Pegulingan was used was outside the King's bed chamber in the evenings, but it also played the musical accompaniment for the Legong dance which was performed exclusively by pre-pubescent girls. The set on which the material on this CD was performed was one which had been spared the crucible through the efforts of the Canadian composer/ethnomusicologist Colin McPhee in the 1930's who commissioned a group of musicians to continue the gamelan's repertoire. These recordings were made in 1972 by Robert Brown after the gamelan had been carefully restored to its original condition (it had come into disarray after McPhee's departure from the island and had been decomposing for some 30 years.) It is a particularly beautiful gamelan and hearing it can give on a bit more perspective on the popular gong kebyar. Because of its relatively slower pace, it's much easier to grasp how the instruments interlock within the gamelan.
We just got the first batch of the Indonesia / South Pacific installment of Nonesuch's Explorer reissues, which total 12 in number. Ten of the discs are from either Java or Bali and just about each one features an entirely different form of gamelan. A Gamelan, as a cursory way of introduction, is an orchestra of primarily bronze (though bamboo gamelan are also common) percussion instruments -- metallophones, gongs, gong-chimes -- and drums. Quite often a gamelan will have a specific repertoire that it is exclusively built for the performance of, and certain ceremonial gamelan are limited to the performance of a single piece. On top of this, throughout Java and Bali there is an ever changing world of both village and court traditions which continue to defy definitions. These discs just in from Bali and Central & Western Java just scratch the surface of gamelan throughout Indonesia, but they're a fine introduction anyway.
Back in 1967 when this record hit the shelves it blew people's minds, and even today it remains one of the most unique and amazing things you're likely to hear. "Golden Rain" is the historic recording that started it all. Recorded by David Lewiston in 1966, Golden Rain was not only the first recording to be released in the Explorer series, but is touted as the first commercial release of "International" music (a claim that some might argue with.)
The first two tracks are recordings of Gamelan Gong Kebyar. The 20-minute third track is Lewiston's recording of kecak, the almost universally loved monkey chant. Kecak has an interesting history in that its creation in the 1930s is due at least in part to German artist Walter Spies, a cultural outsider. The performance is entirely a cappella, with a male chorus of 60+ men chanting in an interlocking fashion derived from gamelan composition. The origins of the chant come from a ritual exorcism dance that's centuries old. The thing about Balinese performance, at least up until later this century, is that it was all inseparably tied to ritual, be it a wedding ceremony, funerals, and other various life cycle ceremonies. Bali's increasing popularity as a tourist destination for middle class and wealthy Europeans in this century was coupled with these same tourists wanting to be entertained by their exotic hosts. Unfortunately for them, there was not only no concept of performance merely for entertainment's sake and not being Balinese, their presence at any such ritual event was violation of its sacrosanctity. Spies' work in encouraging his Balinese friends to create a completely new performance from older traditions, whatever his intentions may have been, allowed for the Balinese to keep the purity of their rituals intact and for the occidentals to get their kicks.
This recording, made by Robert E. Brown in 1970, is a condensed version of the music (gender wayang) that usually accompanies Balinese shadow play (wayang kulit) performances. Normally lasting four hours (instead of the Javanese marathon of nine) the music here is some of that which one would most commonly hear during the unfolding of a play. Aside from the time differences between Javanese and Balinese shadow play, the next most striking difference is that the Balinese variant uses only four instruments (a few gongs and drums, which accentuate fight scenes, etc. are not included on this recording) instead of the complement of a full gamelan. The instruments are two pairs of gender (pronounced with a hard, not a soft "g"), one pair tuned an octave higher than the other. The gender has ten thin bronze keys suspended by strings over bamboo resonating tubes. Additionally, each pair of gender is tuned a small interval apart such that the same note played on both instruments simultaneously will produce a shimmering tone much like in Balinese gamelan. Each musician uses two wooded mallets in playing the gender, the part played in the right hand usually being the kotekan (intricate interlocking melodic part) and the left hand generally playing a slower, supportive role. Gender wayang is generally recognized as Balinese music at its most advanced and refined. Pioneering ethnomusicologist and Balinese music enthusiast Colin McPhee referred to gender wayang as the "perfect expression" of Balinese music. Along with the difficult kotekan parts, the players must also manage to dampen the keys of the instrument with the pads of their hands as they play the following note so the notes don't blend into one another. The timbre of the instruments is a bit like an unholy tack piano. The polyphony is quite remarkable to behold, and on this recording is quite distinctly captured, with one pair of gender to your left and one pair to your right.
Like the "Gamelan & Kecak" and "Golden Rain" recordings in this series, the tracks on "Music From the Morning of the World" were recorded by David Lewiston. As with "Golden Rain" they were made during his first trip to Bali in 1966. And like the later recording, the tracks here are a broad collection of genres from the island which serve to demonstrate the variety of musical forms that exist there. Along with the requisite kebyar tracks (two here: one from the baris dance and the other from the Barong dance) is a medley of recordings of a genggong ensemble (small ensemble of jew's harp, flute, drums and cymbals) a recording of gambuh, an a cappella lullaby, gamelan anklung, another excerpt of both kecak and a gender wayang ensemble.
MPEG Download: SEKEHE GAMBUH "Sekar Leret" [/audio/sekehegambuhleret.mp3]
MPEG Stream: SEKEHE GAMBUH "Sekar Leret" [/audio/sekehegambuhleret.m3u]
MPEG Download: RANI "Lullaby" [/audio/ranilullaby.mp3]
Analog Africa strikes gold once again! Just when we thought we might need a little break from '70s African psych/funk reissues, we're reminded again just how much amazing music was recorded without seeing wide release, sounds that so deserves to be heard and blasted loud and proud! This time out Analog Africa put their crate digging skills to work on the raw beginnings of the Burkina Faso sounds recorded between 1974-1979. With its geographical roots running through the Sahel, these sounds incorporate Afro-funk, Islamic rhythms, and Malian guitar sounds. It might sound cliche, but there is really no other way to describe the songs on this collection without using words like smoking, blazing, raw, and on fire. Not a record you want to listen to softly, these are songs you want to blast as even the slow burners on here cut right to the core. We had never heard any of these sixteen tracks before, and with the awesome 44 page booklet that accompanies this release we now get to not only listen but learn about amazing music we had very little knowledge of beforehand. Isn't that what being a music lover is all about, so damn rewarding!
Excellent collection of recordings documenting the varied musics of the Kmhmu people, and recorded from 1982 to 1996 in Thailand, Vietnam, Laos, and Suburban California. As the title implies, much of the instruments found herein are assembled primarily from bamboo, a versatile grass: jew's harps, blow tubes, mouth organs, etc. But also included are plenty of vocals and even the occasional gong ensemble. Lots of beautiful, nasal tones that make one's sinuses tickle, and leaping melodic lines (Andee irreverently refers to the music on this CD as emulating "armpit farts" - to each his own opinion) make for some stunning songs. Especially interesting to note are the serenades in which young lovers sing to one another through a blow tube or jew's harp in order to disguise their vows from their parents.
For those who devoured the first delightful volume of Barry 7's Connectors: Rare Italian Library Tracks, here's an entire second volume! A cornucopia of sonic frolics very much in the same spirit as Luke Vibert's Nuggets and many of the Crippled Dick Hot Wax compilations. Unfamiliar with any of those? Well then, strap on your seatbelt 'cause you're in for a treat! Over the top Euro kitsch, melodrama and campiness! So perfect if you're on the lookout for a diverse array of rather flamboyant theatrical music 'cause these tracks - originally catalogued for '60s and '70s television and radio production backing use - are overflowing with bontempi-esque organs, analog synthesizers, choral singers, and flutes! And four of them come from a gent named Ennio Morricone (very much of the delirously wonderful Danger Diabolik period). Curious who this Mr. Barry 7 is who wants you to hear the unheard music? Why, he's one third of that analog synth jammin' UK group Add N To (X) who clearly have drawn much inspiration from these works. Splendid!
For those who devoured the first delightful volume of Barry 7's Connectors: Rare Italian Library Tracks, here's an entire second volume! A cornucopia of sonic frolics very much in the same spirit as Luke Vibert's Nuggets and many of the Crippled Dick Hot Wax compilations. Unfamiliar with any of those? Well then, strap on your seatbelt 'cause you're in for a treat! Over the top Euro kitsch, melodrama and campiness! So perfect if you're on the lookout for a diverse array of rather flamboyant theatrical music 'cause these tracks - originally catalogued for '60s and '70s television and radio production backing use - are overflowing with bontempi-esque organs, analog synthesizers, choral singers, and flutes! And four of them come from a gent named Ennio Morricone (very much of the delirously wonderful Danger Diabolik period). Curious who this Mr. Barry 7 is who wants you to hear the unheard music? Why, he's one third of that analog synth jammin' UK group Add N To (X) who clearly have drawn much inspiration from these works. Splendid!
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
This is a Brazilian garage comp of 1960's 45's. It has covers of the classics that we know so well, if not a bit too well (My Generation, Paint It Black, Time wont let me, Daytripper, I Cant Get No Satisfaction), for the most part sung in Portuguese. In addition to the well known garage/rock n' roll hits, there are some songs I've never heard that were great. I liked them best. Brazilian garage, how rad is that. Oh and the boys on the back cover are foxes.
Another new collection on the Latitude label (Locust's new international sublabel) takes us this time to the Chiapas region of Mexico. The tracks here were recorded between 1971 and 1974 by Richard Alderson (legendary sound engineer involved in recording Albert Ayler, Ornette Coleman, et al in the late sixties). Alderson, who had emigrated to Mexico, devoted his time to documenting the music of the Indians in the region. Along with beautiful trios of harp, guitar and violin there are intense, dare I say, rocking numbers with drums are horns, exploding fireworks (that sound like canons being fired) and some truly bizarre acappella vocal counterpoint. The guitars and harps here are particularly cool sounding. Most of them produce strange overtones such that they almost sound like electric instruments and on some songs, when there's an orchestra of the things playing at once, it's like as impressive as any wall of sound. The tunes here will have you alternately weeping in their beauty and gritting your teeth with their intensity. Originally released by Smithsonian Folkways in the seventies, all the tracks here have here been restored and digitally remastered by Alderson. Highly recommended!
Achtung! Remember a little while ago we were digging a various artists collection entitled Funky Frauleins? Which showcased the swinging female pop stars of Germany (East and West) circa 1968-1978, a super delightful go-go disco dance party platter auf Deutsch all right. Now, here's the sequel - or rather, the prequel, 'cause while Funky Frauleins contained a lot of '70s kitsch, this one goes back to the mid '60s, "when pop culture entered the innocent world of German popular chart music", giving this its "Beat meets Schlager!" tagline. 19 tracks dating from 1964-'68, by an assortment of artists that haven't been part of our education previously, including Brigitt, Joy and the Hit Kids, Marion, Inga, Dorthe, Conny Froboess, Pitty und ihre Beatchicks, and a dozen more.
They do dreamy orchestral pop, teenybop anthems, garagey groove, popsyke, and soul. There's a few German-language covers of familiar hits, including a wonderful interpretation of The Hollies' "Bus Stop", done here as "Er sah mich im Regen" by Monique and the Lions. Meanwhile the Jacob Sisters' "Was hab ich dir getan" you'll recognize as a Teutonic take on "Stop In the Name Of Love" by the Supremes!
Super fun stuff, that's been getting a lot of play here at AQ ever since it showed up. In the compilations competition, this one proves that while France had their "ye-ye girls", and Spain their "chicas", Germany's "beat frauleins" were also pretty darn groovy. But, being German, even at their most hip shaking, these ladies can still somehow sound kinda stern, which only adds to our enjoyment...
**MISSISSIPPI RECORDS ALERT** **MISSISSIPPI RECORDS ALERT** **MISSISSIPPI RECORDS ALERT**
One of two amazing new compilations from Mississippi, along with the Sticks Over My Shoulder blues com found elsewhere on this week's list, there's Bed Of Pain, an amazing collection of Rembetika and Greek folk music, all culled from 78's (and never reissued on lp before) and representing a broad swath of Greek music, including tunes from before and after the 'golden age' of music making in Greece, as well as a handful of tracks from the Greek diaspora in the U.S., all linked by common themes, of hardship, escape and the quest for a better life.
It's hard to know how exactly to describe this stuff, other than to say we love it. Gorgeous male and female vocals, acoustic guitars and buzzing bouzouki melodies, bluesy ballads and wild gypsy folk jams, dances and marches, some mournful and moving, others dramatic and moody, and still others wild and celebratory. Even for folks not that well versed in Greek music, this is a treat, and will no doubt have you hunting for more.
Housed in a thick old school style tip on sleeve, with a printed set of liner notes inside, written by Ian Nagoski, who has curated some of our favorite comps: Black Mirror, Brass Pins & Match Heads, String Of Pearls, among others.
Another fantastically curated collection of magical and mysterious and mostly unheard songs from Honest Jon's, these vintage recordings from East Africa, recorded between the years 1938 and 1957, and categorized as 'native records', in that this was music that was intended for sale to native Africans, not the white colonialists or various traders or laborers, and these recordings helped capture and preserve popular music, the various styles popular before the influence of imported sounds from abroad and various immigrants. These sounds were specific to various villages and represented many different languages and styles. The other cool thing about these performances, is that they were specifically by non professionals, since earning a living making music was nearly impossible, instead these were regular folks, who were often called upon to entertain, at weddings or parties, at markets or for various rituals. The liner notes, like all Honest Jon's liner notes, go into incredible detail, about the various styles of music, the difficulties in translating the languages, the musicians, the performances, the recording processes, it reads like a primer on East African music, and like it should be part of a college course, in fact, we often think smart schools would be snapping these guys up to teach courses in world music, but beyond the background, it's the sounds that count, and the sounds here are incredible, so strange and lovely and mysterious and at once warm and intimate and emotional and totally alien and fantastical.
The first track is the perfect example, a super hypnotic stretch of relentless vocalizing over a barely audible string melody, the sound distorted, the vocals more like testifying, it's not until the very end of the track where the vocals drop out that you can hear how strangely frantic the string playing really is. And from there on out, there's never a moment that's less that totally wonderfully lovely, whether the sound is super melodic and folky, or minimal and rhythmic, buzzy and droney, moody and emotional, we lack the vocabulary to truly describe these sounds, other to say that they move us, and that they're so absolutely beautiful, sometimes haunting and mournful, other times effusive and celebratory, always breathtaking.
The cd comes in a beautiful hardcover style book, with a massive booklet inside, filled with extensive liner notes and vintage photos. The vinyl version is spread out over two double lps, the first with the same title as the double cd contains all the music from the first disc, while the second, containing the music from the second disc, is titled Bellyachers, Listen!
Specially priced cd sampler of three different Balinese music genres - Gamelan Jegog, Gamelan Semar Pegulingan, and Gender Wayang. Jegog is the relatively recently developed bamboo gamelan found mostly in West Bali. Absolutely stunning and LOUD, the aesthetic of Jegog is an attempt to recreate the tone and volume of gongs and metallophones with bamboo. Semar Pegulingan (so named after Semar, the god of love) is the gamelan that traditionally played outside the king's chamber in the afternoons and evenings while the king slept with the queen (think of it as make out music) back before the Dutch got their dirty paws all over Bali. Gender Wayang is the music which accompanies Balinese shadow puppet plays (Wayang Kulit.) Consisting of four gender - metallophones, each with ten flat bronze keys suspended over bamboo resonators - Gender Wayang is considered the most complex and technically difficult music in Bali.
From the masters of dredging up obscure euro-pop and jazz, Crippled Dick Hot Wax takes you on a time warp behind the iron curtain to listen to late 60's & mid 70's jazz grooves -- mostly tracks from Poland and Czechoslovakia are represented here, though there
While only one of us here has actually been to Turkey (that would be Allan, the lucky bastard), we'll all pretty obsessed with Turkish psych/prog/folk music for quite a while now, as is evidenced by the fact that we review pretty much everything we can get our hands on. Edip Akbayram, Erkin Koray, 3 Hur-El, Mogollar, Bulent, Selda as well as comps galore, Love Peace And Poetry, Turkish Delights, Hava Narghile, we just can't get enough. The one aspect of Turkish music we haven't really explored is 'club' music. Could be that we generally don't even like American club music, as none of us are or ever were really what you might consider clubkids. Or it could be that there was never any really comprehensive collection of Turkish club music. Probably a little of both.
But leave it to Germany's mighty Trikont label to set us straight. With such a big Turkish population in Germany, the Istanbul music scene has a following there too, and Trikont asked popular DJ Ipek Ipekcioglu to put this collection together. Underground Grooves Of Turkey covers a wide expanse of Turkish sounds, from straight up dance floor pop, to weird guitar heavy grooves, to dub and hip hop, and pretty much every stop in between. While the sound veers dramatically all over the sonic map, there are definitely aspects that seem to be present in most, if not all of these tracks. We hear LOTS of Bollywood music stylings. The more playful upbeat tracks, the ones with big beats, wild rhythms and strings all over the place, it's hard not to imagine huge big budget dance scenes, dancers twirling, epic and massive and WILD. The more low key, laid back tracks alternately remind us of Muslimgauze, Dead Can Dance, and Jaz Coleman and Anne Dudley's Middle Eastern themed Songs From The Victorious City released several years back. As well as obviously all of the vintage Turkish music we have been digging.
Every single one of these songs is totally unique in its own way, and distinctly Turkish, incorporating all manner of other sounds while managing to sound fresh and original. The first track on the comp, The Night Session's "La Mirage" had us at hello. Imagine 50 Cent's "In Da Club" with its loping laid back swagger, mashed up with haunting minor key, Eastern tinged strings, fluttering flutes and soaring Arabesque vocals. Pretty kick ass. Could definitely be a club hit here. Surprised this track hasn't already been snapped up by that whole Sounds Of The Asian underground scene. With a comp this varied, probably the best way to approach it is track by track. Worth it for the opening song alone, but the rest of the disc is dense and dizzyingly wonderful as well:
-- A soundscape of dense swirls of playful, festive Bollywood exuberance, with amazing vocals from Sivan Perwer, one of the most famous Kurdish vocalists, now living in Germany.
-- Cay Taylan from Vienna, doing a more modern take, a downtempo triphopped version of a traditional Turkish dance, with lots of strings, Eastern percussion, lots of spacey FX and some groovy dubbed out rhythms.
-- A super pop gem from Nil Karaibrahimgil. A mix of drum and bass and hip hop, a childlike rhyme about the weaknesses of men, a sort of Eastern version of the Spice Girls or M.I.A., kind of sassy, and playful, fun, and funky,
-- Baba Zula mixes traditional jazz with Eastern psychedelia, a heady swirl of dreamlike vocals, traditional percussion and melodies, and plenty of late night jazzy shuffle. Some of his past recordings were produced by Mad Professor!
-- Orient Expressions are from Istanbul and carry on the musical tradition of Alevites, a religious minority of Turkish Islam, with a track based on a Kurdish folk song, taking traditional religious music and giving it a dubby electronic makeover, with washed out atmospheres, lilting vocals and super laid back beats, almost like a much more Eastern Enigma or Dead Can Dance
-- Ayhan Sicimoglu is the first Latin musician in the Turkish music scene and offers up a bad ass dancehall jam, a stuttery funky beat over a buzzing kazoo-like melody played on a Zurna, a traditional Turkish folk instrument with just a hint of the dreaded Reggaeton sound (which sounds KILLER here)!
-- dZihan & Kamien are a Swiss / Bosnian duo from Vienna, who craft epic trip hop dubscapes of shuffling slithering rhythms, minor key strings, strange vocal snippets, all wrapped into super catchy laid back grooves.
-- Ceza is one of the biggest names in the still developing Turkish rap scene. He gets compared to Eminem all the time, cuz of his rapid fire flow and whiney voice, and that's not far off the mark. If you can imagine Eminem rapping IN TURKISH over a killer bed of swooping Bollywood strings, fuzzy bass, and skittery almost dancehall rhythms... Wow!
-- The music of Burhan Ocal is really hard to describe, VERY Bollywood sounding, epic and dense, lots of funky rhythms, strings soaring and stirring, elements of Turkish traditional folk music, and some really strange female vocals from Emal Sayin, "the dame of Turkish art-music". She has a strangely strangled sounding mewl that goes from guttural growl to throaty croon, all over super dense and complex string parts and skittery electronic drums. Cool!
-- Baba Cay unfurls a groovy laid back ambient chillout groove, a sort of blissed out R+B, a little hint of new age swoosh, and plenty of Turkish filigree BUT it's not sung in Turkish, instead he sings in a made up language a la Magma or the Ruins.
-- The band with the very un-Turkish sounding name of Brooklyn Funk Essentials are all about super festive party music, equal parts USA and Turkey, with elements of Klezmer, ska, acid jazz, funk and hip hop, a wild block party groove, with loads of horns, that go from ska bounce to dizzying Klezmer swirl in the blink of an eye. Almost like a Turkish / Klezmer version of Jurassic 5!
-- Burhan Ocal is a famous Turkish percussionist, who weaves an intricate percussive backdrop over which traditional instruments like saz and oud buzz and swirl, a droning gorgeous rhythmic ritual, simultaneously ancient and modern, near the end a drum kit kicks in and then it sounds like some modernized Zakir Hussein jam. So good. Very reminiscent of Muslimgauze.
-- Goksel is a modern Turkish pop singer, with a breathy passionate voice, very melodramatic, performing here some sort of displaced modern American pop ballad, filtered through a distinctly Eastern vibe, reverbed guitars and traditional percussion mixed into soft focus Turkish moody pop, with a slight Western (as in country and western) twang. Her voice actually sounds remarkably like Nina Persson from the Cardigans!
-- Replikas are a guitar heavy underground rock band, who have been written up in the Wire and have even worked with Sonic Youth (and downtown NY) producer Wharton Tiers. Big distorted guitars, pounding drums, driving rhythms, sprinkled with distinctly Turkish bits here and there, soaring vocal melodies, moody strings, all makes for a gorgeous and strangely affecting track...
Not sure how this fits in with the rest of these "underground grooves" but pretty cool nonetheless.
-- Finally, the last track comes from Taner Demiralp, a young conductor / composer who delivers an almost liturgical sounding piece based on a traditional poem, praising the sultans, composed in the style of court music from the Ottoman Empire, including the lyrics and vocals, which are sung and composed in a traditional style no longer in use. Gorgeous crooned melodies over mournful minor key strings, all over a shuffling stuttering electronic beat. creepy and quite beautiful.
Absolutely essential for fans of Turkish music, and anyone who loved any of the Turkish psych compilations we've listed in the past. And all you folks who dig stuff like Kruder And Dorfmeister, Tosca, Peace Orchestra, Kid Loco and the like and just might be open to something a little more exotic, might really dig this stuff.
Like all Trikont releases, Beyond Istanbul is packaged in a full color digipak, and includes a massive set of liner notes, with a history of modern Turkish music, notes on each song and artist, as well as lots of photos!
The third volume of unearthed African music treasures from the 1970s, tracks so rare that they originally only appeared in TV shows or in library archives. Yum! Of the three volumes of this stuff that Comet has reissued, this the jazziest of the lot, filled with boogieing organ and piano. This is true "rare groove" for people who get off on using phrases like that (you know who you are). Here we have music from Cameroon, Ghana, South Africa, Nigeria, etc, and includes a great track with the Art Ensemble of Chicago!!
No doubt about it, the legacy and inspiration of Fela Kuti's music ranks right up their with The Beatles and James Brown in terms of how much of an impact and lasting impression it has left on music of future generations. Without Fela there wouldn't have been Afro-beat as we know it. And luckily so many of the musicians he has influenced produce sounds with the same kind of fire, intensity and rhythm that he laid the blueprints for. This awesome compilation brings together the best of Fela's disciples from many areas on the globe including Nigeria, Columbia, Ghana, Trinidad, New York, and more.
This is exactly how we like our Afro-beat, raw, super charged and full of uncompromising power. It's impossible not to move to these rich groove filled burners. What's extra awesome and exciting is that most of these artists are new to our ears, besides Daktaris, the Whitefield Brothers,and Bola Johnson we really hadn't heard of many of these folks and damn they are all blowing us away! Lever Brothers, Gay Flamingoes, Lisandro Meza, Segun Bucknoh, Phirpo Y Sus Caribes....now we want to get our hands on all of their stuff! Most of the tracks on here are previously unreleased and while the cd is packaged lovingly in a small hardcover book with photos and liner notes, the vinyl is packaged in a totally amazing over the top box set with the music divvied up over four 10" records with a 24 page book packed with the same amazing photos and liner notes. So on fire and so highly recommended!
Arab-American violin; Thai Buddhist ritual performance; One of the first commercial recordings of Bali Gamelan; Northumbrian bagpipes; a Hindu Tamil Wedding song; a French Cameroun Rhumba; a scene from a Chinese Opera; a Turkish folk-dance song; Hutzl wedding music from the Ukraine; An unearthly theme from a supernatural Indian soundtrack; a ten-year-old Swedish girl singing with a zither...
What do these and many other far-flung sounds on this compilation have to do with each other? Are they the results of meticulous years of travel, recording, and collecting in the field? Well, no. Were they extracted from some archivist's well-researched collection of indigenous music? Um, not exactly. What these sounds do have in common is they are all culled from 78 rpm recordings made between 1918-1955; feature artists and ensembles from all over the world, mostly Europe, Asia and the Middle East (though some tracks were recorded in America); and come from the collection of one person, Ian Nagoski, who admittedly made no special efforts to find them. Instead the music found him. Never traveling more than 30 minutes from his home in the US, never buying through mail and not spending very much money, Nagoski has been able to amass an incredible collection of global treasures, finding gems through diligence, patience and perseverance that most antique record collectors wouldn't have the stamina to suffer through. Looking at some of the reproductions of the labels, some with only hand-written words, we can only imagine at how many hours of guesswork, collecting and concentrated listening Nagoski must have endured to filter the wheat from the chaff. Well-researched liner notes give clues to the origins of these 24 tracks, and Dust-to-Digital have done a fine job of cleaning up the sound (some might say a little too well -- there's nothing wrong with a little vinyl crackle here and there!). But what's really nice is to listen to a collection of songs that are not thematically arranged or compiled within a specifically defined ethno-musical context. Just these strange and beautiful documents of lost worlds colliding together discovered through the displaced happenstance of chance. Giving us hope that there are still undiscovered musical gold within our grasp. Highly recommended!
Oh, and we wanted to mention one song in particular, which everytime it's played in the store has customers and employees alike perking up their ears at its strange almost creepy beauty. It's music from a Japanese Kabuki, called "Songs In Grief", performed by Sinkou Son & Kouran Kin, and it's perhaps the most haunting beautiful thing we've ever heard. Mysterious little vocal trills, strange chanting, a bit like Elizabeth Clare Prophet, but so much more haunting and enchanting. It gives us chills everytime we hear it, and even if the rest of the comp wasn't so absolutely amazing, would be worth the price of admission alone!
Oh boy, can the stellar reissue label Strut do no wrong? Doubtful, cos they just keep coming out with amazing compilations and reissues, unearthing the most forgotten genres and movements mostly taken from the seventies. There's the Disco Not Disco comp,
Now they've compiled the first ever look back at the best of Black Rio, that movement in the seventies that saw young black Brazilians getting political and turning away from the far-too-commercial samba in favor of James Brown. This is funky soul music, and the tracks here are so fun. There's everything from hard gritty funk to smooth soul to an unlikely instrumental cover of "Rapper's Delight" (the last sample below)! And as with all the Strut releases, there are voluminous liner notes placing the entire musical movement in a clear context, as well as lots of photos. Highly recommended.
Black Stars: Ghana's Hiplife Generation is a challenging, and possibly rewarding collection of tunes from the last five odd years comprised of, as the title would indicate, "hiplife" music from Ghana. But what is hiplife? you may ask, and apparently that's the question this compilation sets out to answer. Clearly, as is often the case in the game of inventing and naming new musical genres, we're dealing with the sometimes awkward, and other times ecstatic middle ground between two already canonized genres, in this case "highlife" and "hiphop". Stateside, having recently savored and suffered contemporary permutations of highlife via The Dirty Projectors and Vampire Weekend, as well as receiving a handful of uncorruptably good vintage highlife collections from the Soundways label, it seems ripe time to check in with what's happening to highlife on its mother content. The results are mixed. In general the affair is very much an energetic and confused amalgam of hip-hop, dancehall, reggaeton, a little bit of textured bloop and bleep, sampled and looped highlife guitar, and even at times some of the spare synthesized organicism and mystique of dubstep. In all cases however, there is nothing of the gritty texture, glow, and blown out splendor of vintage highlife that has been so endlessly loved and fetishised in the United States. The palette is rigorously pop, and even at times, to our ears strikingly childish. Think Disney's somewhat jingoistic take on African music in the Lion King, or even for those deep lovers of early '90s cartoons, Tailspin! So, if that variety of positive freneticism is your bag, and you want to know what's up in Ghana, then come along. Also, if you're just in a curious and actively transcendent mood, you might enjoy this for its educational value as well. However, to all others, consider this a mere suggestion, not required listening.
We were already sold on this before we even heard it, just based on the title alone, and likely you are too! And having heard it, we're all the more into it. This latest Finders Keepers/B-Music release is not just another Bollywood - or even Lollywood, or Kollywood - compilation, not that there would be anything wrong with that. Their recent Pakistani picture house collection Life Is Dance is still in heavy rotation 'round these parts, as are others of its ilk. But Bollywood Bloodbath is even better, thanks to its specific, scary theme. Cooler 'cause these songs, as you may have guessed, are all taken from the soundtracks to Hindi horror movies! Ghost stories, killer thrillers, zombiethons, that sort of thing... but unlike American slasher flicks and Italian giallo from the same period (the '70s mostly, though this disc ranges as far back as 1949, and up to the '80s), these Indian fright films are, of course, like other Bollywood productions, elaborate musicals. So the bloodbath sounds like it's taking place at the discotheque!! It's a perfect mix of the over-the-top pop groove-a-delica of the best vintage Bollywood stuff, infused with the even weirder, wilder, and wiggier sounds demanded by the horror movie genre, like shocking screams, stabbing cacophonous chords, and impassioned female vocals pleading for mercy.
Yep, it's pretty brilliant the way this collection combines two of our favorite soundtrack genres into one. Gotta give it up to compiler Andy Votel and his diligent research (involving hours and hours of viewing cheap old VHS tapes found at the Indian grocery store, no doubt), as he's dug up a delightful 'best of' from a hybrid cinematic genre we've yet to explore ourselves. And even if these songs were sourced from Z-grade movies, there's for sure some top talent involved on soundtrack side of things, including even the legendary RD Burman.
Although there's a modicum of ominous, atmospheric creepiness to be found in most of these cuts, moments that are mystical and mysterious, truth be told it's not all that frightening, as the spookiest stuff always gives way to urgent uptempo beats and zipp-zapping "seance fiction" synths, lively rock/disco orchestration and spirited singing, i.e. typical Bollywood bombast! If anything, rather than, say, John Carpenter or Goblin (our usual go-to's for suspense/horror soundtracks), some of what's here reminds us more of stuff from far out Spaghetti Westerns.
Since we're making this Record Of The Week, we should pause to state that if you're not already into Bollywood soundtracks, you need to check 'em out! And this, despite its specific slant, would certainly give you a good idea of what you've been missing - total WTF kitchen sink psychedelic percussive song-and-dance Eastern-inflected rock opera funked up madness.
22 tracks, 78+ minutes. Complete with cd booklet of copious, obsessive, expert liner notes from Votel. And lots of cool creepy colorful graphics of course. (In addition to this domestic cd release, there's also import vinyl available, but we're pretty much out, hoping to have some more from overseas next month, FYI.)
Another label recognizes the brilliance of the wildly prolific Indian film industry's musical scores, puts its money where its mouth is, and releases a compilation. Good on you, Outcaste. This comp is heavily influenced by soul, funk, jazz, and latin music -- and since the record was made specifically for djs, it's purposefully heavy on the groove and not so much into quick changes and challenging juxtapositions, like the more pop-oriented Bollywood Funk records (which we highly recommend). That's not to say the non-DJ can't get into this -- it'd be excellent for your next party. Fans of Bombay the Hard Way will like this.
Just from the title alone, we knew that this latest installment in the always-amazing Sublime Frequencies series of unusual and under-documented "world music" recordings was gonna be the bomb! Indeed it is. The 'exotic' and infectious verve of vintage Bollywood film soundtrack music, performed with electric steel guitar as lead instrument for extra awesomeness, is hard to beat! The steel guitar, bringing with it the groovy twang of Western Swing and Hawaiian fret-sliding flavor, as well as a measure of classical Indian music, easily effects an emotive echo of the human voice that ordinarily fronts Bollywood themes. Compiler Stuart Ellis' informative liner notes describe these instrumental pop versions of Hindi film hits as the "elevator music of India" and if that's the case, we'd definitely rather be stuck in an elevator in Mumbai than anywhere else. There's 21 rare tracks by a half dozen masterful Bollywood steel string slingers: Van Shipley, Kazi Aniruddha, S. Hazarasingh, Sunil Ganguly, Charanjit Singh, and Guatam Dasgupta, recorded between 1962 and 1986.
A completely captivating collection, already one of our favorites among the many great Sublime Frequencies releases. And probably it should be no surprise that, for example, Van Shipley's "Jan Pahechan Ho" from the 1966 film Gunaam immediately gives us Sun City Girls flashbacks...
In terms of hip International music trends here in the States, the Bollywood music craze seems to have recently died down in favor of the sounds of Ethiopia (thanks in part to its inclusion on major motion picture soundtracks such as Broken Flowers). Our love for both certainly hasn't waned nor wavered. So we're more than happy to welcome this new compilation of Indian film music. If you're seeking a thorough overview of the genre, this is a great place to start. The first disc dishes out a dozen delirious classics from the '50s, '60s and '70s, while the second disc offers eleven more 'modern' tunes, from the '90s. Of course, tracks by Bollywood deities Asha Bhosle, Lata Mangeshkar and Mohammed Rafi (check out the intense vocal performance on "Madhuban Mein Radhika"!) are in abundance on both discs. Oh such vibrant, manic, aural opulence! Recommended!
While the first Bombay the Hard Way disc featured funky themes from '70s Bollywood films doctored and augmented by the talents of the Dan "The Automator" Nakamura, this here volume 2 takes on the next generation of films -- stuff from the '80s. A lot of it is
