{"title":"Analog Africa","description":"\u003cp data-start=\"77\" data-end=\"524\"\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cstrong data-start=\"0\" data-end=\"17\" data-is-only-node=\"\"\u003eAnalog Africa\u003c\/strong\u003e\u003cspan\u003e ist ein Frankfurter Label, das seit 2006 rare afrikanische Musik der 60er bis 80er Jahre wieder zugänglich macht. Gründer Samy Ben Redjeb reist dafür durch Archive und Plattenkisten verschiedenster Länder, um vergessene Schätze zu entdecken. Die Veröffentlichungen sind liebevoll kuratiert und oft mit umfangreichen Booklets ausgestattet. So bringt das Label authentische, globale Grooves zurück ins Rampenlicht und begeistert Fans weltweit.\u003c\/span\u003e\u003c\/p\u003e","products":[{"product_id":"roots-rocking-zimbabwe-the-modern-sound-of-harare","title":"Roots Rocking Zimbabwe - The Modern Sound Of Harare","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cstrong\u003eBlack 2LP GF + 20p Booklet \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eMit 'Roots Rocking Zimbabwe - The Modern Sound of Harare‘ Townships 1975-1980`erscheint auf Analog Africa eine exzellente Compilation mit 25 raren und zum Teil unveröffentlichten Songs, die die Geburt der modernen Musikindustrie in Simbabwe und die explosionsartige Kreativität der Bands der 1970er und 80er Jahre perfekt einfängt! \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e1972 kamen people of colour in den offiziellen Zeitungen des Landes in weißem Besitz nur selten vor, es sei denn, es handelte sich um einen toten „Terroristen“. Doch der Auftritt von Dr. Footswitch veranlasste den Rhodesia Herald, das Bild seines Gitarristen Manu Kambani auf der Titelseite abzudrucken, zusammen mit dem schreienden Satz „Jimi Hendrix ist tot, aber Manu lebt“. Mit seiner Fähigkeit, die hypnotisierenden Possen von Jimi Hendrix zu imitieren, hatte Manu alle beeindruckt, und der Herausgeber der Zeitung konnte nicht widerstehen, die Geschichte zu drucken. Es folgte heftige Kritik von konservativen Weißen, die dem Herald vorwarfen, „die Standards zu senken“. Doch die Berichterstattung machte Manu zu einer Symbolfigur in Harare, einem der ältesten Townships von Salisbury, und beeinflusste viele Jugendliche, ihre eigenen Musikgruppen zu gründen. Diese Bands begannen, Rockmusik, kongolesische Rumba, südafrikanischen Mbaqanga, Soul und traditionelle Beats zu einer Untergrundmusikbewegung zu verschmelzen, die die Zukunft des simbabwischen Sounds prägen und das koloniale Establishment herausfordern sollte. Die ganze Aufregung weckte das Interesse der südafrikanischen Musikindustrie, und eine ganze Reihe von rhodesischen Bands - darunter The Great Sounds, MD Rhythm Success, Afrique 73, The Hitch-Hikers, The Impossibles und O.K Success - hatten es aufgrund ihrer Live-Auftritte geschafft, einen einmaligen Plattenvertrag mit Gallo Record abzuschließen. Doch aus irgendeinem Grund nutzte der südafrikanische Gigant den Schwung nicht voll aus, und dieses Vakuum wurde 1974 von der Teal Record Company gefüllt, die beschlossen hatte, ihre rhodesische Tochtergesellschaft aufzustocken. Die 25 Songs, die auf dieser Compilation vorgestellt werden, zeigen die Geburt der modernen Musikindustrie in Simbabwe und die explosionsartige Kreativität, die die Bands der 1970er und 80er Jahre an den Tag legten, ist unendlich lohnend. Es war eine Zeit des wilden Experimentierens, bevor sich etablierte Genres herauskristallisiert hatten. Rock, Rumba, Soul und traditionelle Grooves treffen in dieser Sammlung auf wunderbare Weise aufeinander, die auch noch nie veröffentlichte Stücke von Thomas Mapfumo, Oliver Mtukudzi und vielen anderen simbabwischen Künstlern enthält!\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Want Some Records","offers":[{"title":"Default Title","offer_id":52086352183633,"sku":null,"price":29.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/5843\/8993\/files\/1692991_01_huge.jpg?v=1760210138"},{"product_id":"shadow-sweet-sweet-dreams","title":"Shadow - Sweet Sweet Dreams","description":"\u003ctable border=\"0\" cellpadding=\"0\" cellspacing=\"0\" width=\"363\"\u003e\n\u003ccolgroup\u003e\u003ccol width=\"363\"\u003e\u003c\/colgroup\u003e\n\u003ctbody\u003e\n\u003ctr height=\"277\"\u003e\n\u003ctd height=\"277\" class=\"xl67\" width=\"363\"\u003eGatefold LP comes with a 4-pages big size inlay with liner notes, exclusive pictures and a double page poster (30x60cm)\u003cbr\u003eRecord\/Vinyl + Digital Album\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Want Some Records","offers":[{"title":"Default Title","offer_id":52260250943825,"sku":null,"price":27.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/5843\/8993\/files\/a1015998077_10.jpg?v=1762107063"},{"product_id":"pop-makossa-the-invasive-dance-beat-of-cameroon-1976-1984","title":"Pop Makossa - The Invasive Dance Beat of Cameroon 1976-1984","description":"\u003ctable border=\"0\" cellpadding=\"0\" cellspacing=\"0\" width=\"363\"\u003e\n\u003ccolgroup\u003e\u003ccol width=\"363\"\u003e\u003c\/colgroup\u003e\n\u003ctbody\u003e\n\u003ctr height=\"427\"\u003e\n\u003ctd height=\"427\" class=\"xl67\" width=\"363\"\u003e2xLP Gatefold LP (140gr) with 20-pages LP size Booklet + 30cmx30cm Poster\u003cbr\u003eRecord\/Vinyl + Digital Album\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Want Some Records","offers":[{"title":"Default Title","offer_id":52260684726609,"sku":null,"price":29.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/5843\/8993\/files\/a0325555163_10.jpg?v=1762111983"},{"product_id":"edo-funk-explosion-vol-1","title":"Edo Funk Explosion Vol.1","description":"\u003ctable border=\"0\" cellpadding=\"0\" cellspacing=\"0\" width=\"363\"\u003e\n\u003ccolgroup\u003e\u003ccol width=\"363\"\u003e\u003c\/colgroup\u003e\n\u003ctbody\u003e\n\u003ctr height=\"427\"\u003e\n\u003ctd height=\"427\" class=\"xl67\" width=\"363\"\u003eGatefold 2xLP, Comes with a fantastic full color 20-pages magazine-format booklet containing exclusive pictures and interviews\u003cbr\u003eRecord\/Vinyl + Digital Album\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Want Some Records","offers":[{"title":"Default Title","offer_id":52260703600977,"sku":null,"price":29.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/5843\/8993\/files\/a2143173201_10.jpg?v=1762112303"},{"product_id":"essiebons-special-1973-1984-ghana-music-power-house","title":"Essiebons Special 1973 - 1984 \/\/ Ghana Music Power House","description":"\u003ctable border=\"0\" cellpadding=\"0\" cellspacing=\"0\" width=\"363\"\u003e\n\u003ccolgroup\u003e\u003ccol width=\"363\"\u003e\u003c\/colgroup\u003e\n\u003ctbody\u003e\n\u003ctr height=\"475\"\u003e\n\u003ctd height=\"475\" class=\"xl67\" width=\"363\"\u003eGatefold 2LP, Comes with a beautiful full color 12-pages magazine-format booklet\u003cbr\u003eRecord\/Vinyl + Digital Album\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Want Some Records","offers":[{"title":"Default Title","offer_id":52260718084433,"sku":null,"price":29.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/5843\/8993\/files\/a3418213223_10.jpg?v=1762112536"},{"product_id":"saturno-2000-la-rebajada-de-los-sonideros-1962-1983","title":"Saturno 2000 - La Rebajada de Los Sonideros 1962-1983","description":"\u003cp\u003eGatefold 2LP\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eIt all started in 2010. I had asked Eamon Ore-Giron - aka DJ Lengua - if he would be interested in compiling a Latin project for Analog Africa, and if so, if he had a theme in mind. He replied, \"Have you ever heard of Rebajada?\" The question mark above my head, together with the wall of China, must have been the only other object visible from out of space because Eamon, probably noticing I got paralysed, continued, \"Rebajada in Spanish means \"to reduce, lowered\". It's basically Mexican sonideros (sound-system operators) slowing down the beat of a Cumbia to create a much more tangible music to dance to. I'll send you a mix I made last year and let me know what you think.\" And so he did.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThat mix was called Rebajada Mota Mix and I began listening to it on a loop. Although I was not immediately hooked it was intriguing from the get-go, and so I kept listening until magic began unfolding. Slowed down music allows you enough time to hear right through it, revealing itself in ways I had rarely experienced before. Everything became more transparent and I was noticing sounds normally only perceptible by bats. A near psychedelic experience. That mysterious mix included a few Ecuadorian songs by Junior y su Equipo - aka Polibio Mayorga (a cult figure in the sonidero scene)\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e, a couple of Mexican tunes, one Colombian, and various Peruvian songs, undoubtedly the driving force behind this project.\u003cbr\u003e\u003cbr\u003eThe sonidero who brought Peruvian and Ecuadorian music to Mexico was the legendary Pablo Perea from Sonido Arco-Iris, and although his fingerprints are all over the compilation Saturno 2000, this selection of songs in rebajada is exclusive to DJ Lengua. With the exception of a few classics from Polibio Mayorga and La Sampuesana – the queen of all rebajadas – most of these songs were probably never performed as such before, let alone released. \u003cbr\u003e\u003cbr\u003eSo how did rebajada come to be? In a nutshell; Rebajada started with two families of brothers – the Pereas and the Ortegas – who travelled all over Latin America and returned to Mexico with heavy loads of records which they would sell to the various sonideros always on the lookout for new tunes. Colombian beats especially seemed to fit almost perfectly with the Mexican dance steps – but they were just a bit too fast. As a result some sonideros began experimenting with equipment, and Marco Antonio Cedillo of Sonido Imperial created a revolutionary pitching system that could slow records down to an extent other players could only dream about. And so rebajada was born... or so we thought. \u003cbr\u003e\u003cbr\u003eAt the same time in north of the country, in Monterrey, sonidero Gabriel Dueñez almost got electrocuted by a short circuit that nearly set his record player on fire. As a result the platter started spinning in slow motion for the rest of the party, turning Cumbia into a different affair altogether. The youngsters went crazy for it and started harassing the sonidero with requests to record cassettes for them. Reluctant at first, Dueñez finally began recording a series of pirated cassettes called \"Rebajada\" which included mainly Colombian cumbia and porro in slow-mo exclusively. Those tapes took the city by storm and turned rebajada into a celebrated and defiant movement of the youth. \u003cbr\u003e\u003cbr\u003eOf course it would not be a Mexican urban legend if it didn't include dramaturgical elements, and so for nearly 30 years, until this day and probably for ever, both cities have been arguing and claiming ownership the creation of rebajada for themselves. But sonidera Joyce Musicolor, who never has time for such trivial arguments, got straight to the point: \"Rebajada, and the equipment to perform it, is from here [Mexico City] but it was Monterrey that popularised it.\"\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Want Some Records","offers":[{"title":"Default Title","offer_id":52260721557841,"sku":null,"price":29.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/5843\/8993\/files\/a4251303234_10.jpg?v=1762112714"},{"product_id":"angola-soundtrack-2-hypnosis-distorsions-other-sonic-innovations-1969-1978-2021-lp-repress","title":"Angola Soundtrack 2 - Hypnosis, Distorsions \u0026 Other Sonic Innovations 1969-1978 (2021 LP Repress)","description":"\u003ctable border=\"0\" cellpadding=\"0\" cellspacing=\"0\" width=\"363\"\u003e\n\u003ccolgroup\u003e\u003ccol width=\"363\"\u003e\u003c\/colgroup\u003e\n\u003ctbody\u003e\n\u003ctr height=\"547\"\u003e\n\u003ctd height=\"547\" class=\"xl67\" width=\"363\"\u003e2xLP - comes with a 12-page LP sized booklet REPRESS\u003cbr\u003eRecord\/Vinyl + Digital Album\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Want Some Records","offers":[{"title":"Default Title","offer_id":52260749607249,"sku":null,"price":29.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/5843\/8993\/files\/a1798189499_10.jpg?v=1762113197"},{"product_id":"hallelujah-chicken-run-band-take-one","title":"Hallelujah Chicken Run Band - Take One","description":"\u003ctable border=\"0\" cellpadding=\"0\" cellspacing=\"0\" width=\"363\"\u003e\n\u003ccolgroup\u003e\u003ccol width=\"363\"\u003e\u003c\/colgroup\u003e\n\u003ctbody\u003e\n\u003ctr height=\"475\"\u003e\n\u003ctd height=\"475\" class=\"xl67\" width=\"363\"\u003eGatefold Cover Vinyl LP\u003cbr\u003eRecord\/Vinyl + Digital Album\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Want Some Records","offers":[{"title":"Default Title","offer_id":52260753441105,"sku":null,"price":27.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/5843\/8993\/files\/a2709280033_10.jpg?v=1762113359"},{"product_id":"orchestre-super-borgou-de-parakou-the-bariba-sound-1970-1976","title":"Orchestre Super Borgou De Parakou - The Bariba Sound 1970-1976","description":"\u003ctable border=\"0\" cellpadding=\"0\" cellspacing=\"0\" width=\"363\"\u003e\n\u003ccolgroup\u003e\u003ccol width=\"363\"\u003e\u003c\/colgroup\u003e\n\u003ctbody\u003e\n\u003ctr height=\"523\"\u003e\n\u003ctd height=\"523\" class=\"xl67\" width=\"363\"\u003e2xLP Gatefold LP de Luxe\u003cbr\u003eRecord\/Vinyl + Digital Album\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Want Some Records","offers":[{"title":"Default Title","offer_id":52260759404881,"sku":null,"price":27.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/5843\/8993\/files\/a1165396224_10.jpg?v=1762113526"},{"product_id":"gnonnas-pedro-his-dadjes-band-roi-de-lagbadja-moderne-1974-1983","title":"Gnonnas Pedro \u0026 His Dadjes Band - Roi De L'Agbadja Moderne 1974-1983","description":"\u003cp\u003eDouble LP\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eGnonnas Pedro’s “Mo Ngbadun Re” - a song written to pay tribute to Nigerian and Beninese musicians - would change the trajectory of Analog Africa, forever. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAnd while the Nigerian artists were more or less familiar to Samy (the label founder), obscurity was his destiny when Gnonnas began singing about Picoby, Renova, Annasoua Jazz, Super Borgou, Super Star, El Rego, Black Santiago and other bands from Benin. The conclusion of this musical experience was that if a star like Gnonnas Pedro sang about these bands it could only mean that he knew something that we didn’t. Could it be that the Benin Republic had more to offer than its size suggested? There was only one way to find out. Samy arrived in Cotonou in August of 2005 and that´s how a Gnonnas Pedro song brought Analog Africa to Benin, and the rest is history.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWhile 4 songs by this magnificent artiste were included in the compilation Legends of Benin from 2009, this time Analog Africa has the huge honour to present a full and deserved project about Gnonnas Pedro, the king of Modern Agbadja. Very early in his career our friend had landed his first hit with a song called ‘Dadje Von O Von Non’. It was an Agbadja, an ancestral rhythm\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e played during burial ceremonies in Le Mono, the region where Gnonnas Pedro’s family came from. Gnonnas adapted, modernised and coined it ‘Agbadja Modern’ and that's how he became known and beloved as ‘Roi de l’Agbadja Moderne’.\u003cbr\u003e\u003cbr\u003eAlmost a decade later, in the mid-70s, Gnonnas secured a deal with African Songs Ltd and later with Take Your Choice (TYC), two labels out of Nigeria. At that period Gnonnas had been recording and performing for a decade, and while a few of the original band members had left, the majority of the musicians had stayed with him. The relatively consistent membership of ‘Les Dadjes’ meant that they had developed into a well-oiled groove machine by the time the ‘Nigerian years’ began. The various masterpieces the band recorded between 1975 and 1980 in Lagos catapulted Gnonnas Pedro to superstardom back home in Benin, but also made him a name in other West African countries, where his songs were regularly broadcast on the national airwaves. Sometimes called ‘The Band That Speaks All African Languages’ for their ability to perform songs in numerous languages ‘Les Dadjes’ also spoke all kinds of rhythms, with a special emphasis on Cuban and Benin rhythms. \u003cbr\u003e\u003cbr\u003eAround 1980, Gnonnas fulfilled the lifelong dream of starting his own label and one of the first albums on the newly founded Gnoinsopé label included the track ‘Yiri Yiri Boum’, which took Benin by storm and cemented Gnonnas as one of the country’s most important artists. \u003cbr\u003e\u003cbr\u003eThe double-LP ‘Roi De L'Agbadja Moderne 1974-1983’ from Analog Africa comes as a Gatefold with a full-color 8-page booklet including photos. Featuring 16 of Gnonnas’ finest songs that resonated across the African continent, the unique blend of Agbadja, Cuban fon, jerk, highlife, and other African rhythms sung in Fon, Mina, Yoruba, French, English, and even Spanish offers a truly unique musical journey.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Want Some Records","offers":[{"title":"Default Title","offer_id":52292836262225,"sku":null,"price":29.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/5843\/8993\/files\/a0037224427_10.jpg?v=1762459718"},{"product_id":"roots-rocking-in-zimbabwe-by-fred-zindi","title":"Roots Rocking in Zimbabwe by Fred Zindi","description":"\u003cp\u003eBook\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eBook includes approx. 100 pictures from the personal collection of Fred Zindi and Samy Ben Redjeb and from the archives of the Parade and Foto Action Magazine.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIt was in 1995 that I first encountered the music of Zimbabwe’s superstar, Oliver Mtukudzi! At that time, I was working as a DJ at the Aldiana Hotel, located in Mbour, about 100 km south of Dakar, the capital city of Senegal. To refresh my sets with newer material, the management of the Aldiana complex handed me a catalog of CDs from which I could select. As a holiday destination, playing the hits of the day was essential, so I ordered a whole lot of those. However, there was also an African section, and since I was in West Africa, I thought it would be fitting to ensure that tourists left the country having experienced at least one night of African music. I proposed the idea to the hotel director, who agreed that it was a great idea.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eI spent a few days decorating the nightclub, draping fabrics over its octagon-shaped ceiling when finally, the parcel filled with CDs arrived, including a three CDs compilation called \"Africa Never Stand Still\" on the now-defunct Ellipsis Arts label.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe opening track of that compilation was \"Ndiri Bofu\" by Oliver Mtukudzi, and I couldn’t stop listening to it. I discovered\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e that the song was part of an album called Shoko, which Oliver had recorded in Berlin for the Piranha label in 1991 and I immediately ordered it. Shoko, which became the soundtrack of my time in Senegal, featured new versions of hits Oliver had recorded during the ’70s and early ’80s and since I became obsessed with these songs I decided to travel to Zimbabwe at the next opportunity to find the original recordings.\u003cbr\u003e\u003cbr\u003eI arrived in Harare sometime in 1996, in a country I knew little about, and had to navigate a music scene I was almost entirely unfamiliar with. At that time, there was no internet, and the few books available in Europe attempting to market the newly coined term “world music” were poorly written and very shallow (and I'm being polite). One can only imagine my excitement when I walked into a bookstore in one of Harare’s suburbs and found “Roots Rocking in Zimbabwe” sitting on a shelf. As soon as I opened it, I saw that it included extensive interviews with both Oliver Mtukudzi and Thomas Mapfumo. It was also the first time I came across the name The Green Arrows, the band which would become the subject of Analog Africa's very first release some 10 years later. This book, written by musician Fred Zindi, opened up a whole new world to me, making it much easier to understand the music scene I was so eager to explore.\u003cbr\u003e\u003cbr\u003eIt became my bible, and when I returned to Harare in 2022, after a 17 year absence, that book travelled with me. Fred Zindi, was a seasoned veteran of the music industry, and so I reached out to him to ask if he would like to help me locate artists for a future music project. When our label manager found out I was in touch with the very person who had written “my bible,” he immediately asked, “And why don’t you ask him if he would allow us to publish it again?” \u003cbr\u003e\u003cbr\u003eZindi, who has had a long and distinguished career in music and is now a renowned professor at the University of Harare, has an unshakable demeanor and when, around a coffee, I asked him if he would license his book to us, he calmly replied, “You’ll give me $200 now and 50% of the profits.” Seizing the moment, I also asked him if he would allow me to use the title of his book for the music compilation I was preparing to which he simply replied, “Feel free to do so.”\u003cbr\u003e\u003cbr\u003eAnd so, 30 years after a lucky discovery in a bookstore, the story has now come full circle, and I am very proud to have the chance to release this wonderful book and bring this incredible music and its history to a whole new generation.\u003cbr\u003e\u003cbr\u003eSamy Ben Redjeb\u003cbr\u003eFebruary 2025\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Want Some Records","offers":[{"title":"Default Title","offer_id":52292906451281,"sku":null,"price":27.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/5843\/8993\/files\/a1377239718_10.jpg?v=1762459889"},{"product_id":"zig-zag-band-chigiyo-music-kings-1987-1998-limited-edition","title":"Zig-Zag Band: Chigiyo Music Kings 1987 - 1998 (Limited Edition)","description":"\u003cp\u003eVinyl LP\u003c\/p\u003e\n\u003cp\u003eAnalog Africa taucht tief in den Sound der legendären Zig-Zag Band, die wahren Kings of Chigiyo Music, ein. Die Band entstand in den frühen 1980er Jahren, einer Zeit, in der Simbabwe seine Identität nach der Unabhängigkeit entwickelte, und etablierte sich schnell als eine der markantesten musikalischen Stimmen des Landes.\u003c\/p\u003e\n\u003cp\u003eIhr Sound – eine lebendige Fusion aus Reggae, traditionellen Rhythmen, Bläserarrangements und von der Mbira inspirierter Gitarre – trug dazu bei, das zu definieren, was später als Chigiyo bekannt wurde, ein Genre, das nach einem traditionellen Tanz aus der Region Chimanimani benannt ist. Die Band wurde in Kwekwe unter der Leitung von Robson Kadenhe gegründet und von dem Gitarristen Gilbert Zvamaida angeführt. Sie entwickelte einen kühnen, originellen Stil. Mit komplexen Gitarrenlinien, mitreißenden Tanzrhythmen und rauen, gefühlvollen Shona-Gesängen überschritt sie die Grenzen des Genres. Während viele Zeitgenossen sich für kommerziell sicherere Wege entschieden, blieb Zig-Zag entschlossen unabhängig und in ihren frühen Jahren waren sie unter anderem als Begleitband für Oliver Mtukudzi tätig und wirkten an der legendären LP »Wavona« mit. Schon damals entwickelten sie still und leise ihren eigenen Sound. Ihr Durchbruch gelang ihnen 1987 mit »Gomo Ramasare«, einem Titel, der sie nicht nur zu nationalem Ruhm verhalf, sondern auch zu ihrem bleibenden Markenzeichen wurde.\u003c\/p\u003e\n\u003cp\u003eIhr Debütalbum Child Survival \/ Chigamba aus dem Jahr 1989 war ein wichtiger Meilenstein, gefolgt von einer Reihe angesehener Veröffentlichungen. 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Diabo Steck (drums), Bamba Yang (keyboards \u0026amp; Guitar), Léon Sina (Guitar) and Assalé Best (chef d´orchestre and Saxophon) would become the core of the group and together with Ernesto they began thinking of ways of combining the rhythms and chants of the Bété people and fuse them with Makossa, Funk and Disco and create a musical style that was both Ivorian and International. He called his experiment Ziglibithy and his first two albums, immortalised at the EMI studios in 1977 in Lagos and released on the Badmos label, took West Africa by storm turning Ernesto Djédjé into an icon overnight and one of the legends of African music.\u003cbr\u003eErnesto Djédjé died in mysterious circumstances on June 9th, 1983 - at the age of 35 - shocking the whole Ivorian nation. 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While many of the genre’s greatest tracks were instrumental, and others were simple celebrations of life in the jungle, the goal of every song was to keep the party going. \u003c\/p\u003e\n\u003cp\u003eRadio stations in Lima remained unaware of the new electric sounds emanating from the jungle, but a handful of pioneering record producers ventured over the mountain passes to the cities of Tarapoto, Moyobamba, Pucallpa – even Iquitos, a city reachable only by boat or plane – and lured dozens of bands to the recording studios of the capital to lay down their best tracks. Although many became local hits, few were ever heard outside the Amazonian region... until now. \u003c\/p\u003e\n\u003cp\u003eWith eighteen tracks from some of the greatest names in Amazonian cumbia, Perú Selvatico is both the improbable soundtrack to a beach party on a banks of the Amazon and a psychedelic safari into the sylvan mysteries of the Peruvian jungle. \u003cbr\u003eMitwirkende\u003cbr\u003everöffentlicht am 16. Dezember 2022 \u003c\/p\u003e\n\u003cp\u003eCompilado Por : Samy Ben Redjeb \u003cbr\u003eProductor General : Jorge Alan Pimentel \u003cbr\u003eEscrito Por : James Matos Tuesta \u003cbr\u003eIng. De Grabacion : Michael Graves \u003cbr\u003eTraduccion : Brendan James Flannery \u003cbr\u003eEdicion De Textos : Jesse Simon \u003c\/p\u003e\n\u003cp\u003eSpecial Thanks To : \u003cbr\u003eJorge Reyes Miranda, Leonardo Vela Rodriguez, Ygor Olaf López Rios, Homero Llerena Velasquez, Luis Artur Alvan Bardales, Margot Marquesta, Ureta Paucar, Walter Paima Vasquez, Dalmace Rios Ruiz, Luis Seijas Pena, Jose Lorenzo Alván Vásquez, Ivan Solsol, Luis Flores, Victor Zela, Adolfo Barrera Rodriguez, Chico Unicornio. \u003c\/p\u003e\n\u003cp\u003eEste proyecto esta dedicado a la memoria de Jorge Solsol Miranda y Ygor Olaf Lopez Rios\u003c\/p\u003e","brand":"Want Some Records","offers":[{"title":"Default Title","offer_id":52556173214033,"sku":null,"price":29.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/5843\/8993\/files\/a3095639813_10.jpg?v=1765052625"},{"product_id":"sonido-verde-de-moyobamba-limited-dance-edition-nr-17","title":"Sonido Verde de Moyobamba (Limited Dance Edition Nr. 17)","description":"\u003cp\u003eLP\u003c\/p\u003e\n\u003cp\u003eFormed in 1980 by guitar prodigy Leonardo Vela Rodriguez, Sonido Verde de Moyobamba created some of the hardest, craziest Cumbia to emerge from the Peruvian jungle. With distorted, surf-addled guitar facing off against lysergic organ and hyperactive tropical rhythms, Sonido Verde conjured the organic sound of the dense forests surrounding their hometown while riding their dance-party grooves to dizzying psychedelic peaks. \u003c\/p\u003e\n\u003cp\u003eCompiled by Analog Africa, Sonido Verde de Moyobamba presents eight ultra-rare tracks of guitar and organ madness drawn from the band's five albums recorded for Discos Universal between 1981 and 1987. 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Following the planetary success of our \"Edo Funk Explosion Vol.1\" project we have now unearthed \"No Food Without Taste If By Hunger\" by \"The Good Samaritans\", one of the most obscure Nigerian album ever recorded. Originally released in 1982, the bands first album is full of bouncy basslines, raw trance-like grooves and tripped-out psychedelic guitars, a funk experience unlike any other. \u003c\/p\u003e\n\u003cp\u003e\"The Good Samaritans\" is Philosopher Okundaye’s own Edo-Funk project, under which name he produced four albums, all recorded at Phonodisk Studio in Ijebu-Igbo east of Lagos with a 24 track. Okundaye who played many instruments, engaged the right musicians for each project and mixed the whole thing himself, is known as the composer of a large part of Benin City’s celebrated hits in the 80s. His name keeps popping up but somehow his role in the scene remains a bit hazy, giving the character an image of something like the gray eminence of Edo funk. \u003c\/p\u003e\n\u003cp\u003eDue to its private pressing in a probably very small edition, \"No Food Without Taste If By Hunger\" is very difficult to find. With this reissue limited to 2000 copies - newly mastered by Nick Robbins and approved by Philosopher Okundaye himself - \"The Good Samaritans\" make a welcome and long-overdue return to turntables around the world in a beautiful Silk-Screen printed cover and an orange colored vinyl pressed on 180g high quality vinyl. 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One of these musicians is Polibio Mayorga who had travelled 160km from his hometown of Chisalata to Quito where he showcased his talent as he championed the art of modernising his region’s ancestral rhythms - Huaynito, Sanjuanito, Albazo and many others - using the latest in electronic instruments. \u003c\/p\u003e\n\u003cp\u003eAfter 4 years with Los Locos del Ritmo, one of Ecuador’s most popular bands, Polibio joined Fadisa (Fabrica De Discos S.A) in 1973 as a solo musician and songwriter before becoming their musical director a year later. While there he would team up with saxophonist extraordinaire Olmedo Torres, and for 10 years they would compose and arrange hits, not only for themselves but also for their fellow artists in the Fadisa family. Although Fadisa had countless labels in their roster, the jewel in their crown was Rondador and it was on that imprint that Polibio would release “Ponchito de Colores” and his famous album “La Farra Está Aquí”. With their novel use of Moog synthesiser, both became huge hit records and were broadcast constantly by Cosmopolita and Marañón de Quito – the two major radio stations of the capital. This led to a surge of interest in Andean cumbia, and the subsequent record sales helped to revive the country’s flagging music industry, turning Polibio into Ecuador’s most influential musician.  \u003c\/p\u003e\n\u003cp\u003ePolibio has never considered his music to be “tropical psychedelia” - although he thinks it would make a good name for a band. He has the sense of humour of a genius and the ability to make anyone laugh, yet he remains discreet, eloquent and humble … but as a musician he is daring and visionary, with an intrepid, vigorous style almost impossible to imitate. 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Over the decades, he earned major recognition in the Caribbean, including winning the Calypso Monarch title in St. Thomas, U.S. Virgin Islands, in 2004 and later receiving a national honor, the Hummingbird Silver Award, for his contribution to music and culture.\u003cbr\u003e\u003cbr\u003eOne of his most influential songs is “Forward Ever”, a calypso anthem centered on perseverance, resilience, and collective struggle. The lyrics encourage listeners to “struggle on,” using patience, wisdom, and understanding like weapons in life’s battles, and remind them to help others along the way. The song’s message and Mudada’s delivery have helped solidify his standing as a cultural voice for determination and unity within Caribbean society.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Want Some Records","offers":[{"title":"Default Title","offer_id":52716243386705,"sku":null,"price":12.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/5843\/8993\/files\/25TM1200477.jpg?v=1767187770"},{"product_id":"ranil-y-su-conjunto-tropical-galaxia-tropical-analog-africa-no-43","title":"Ranil y Su Conjunto Tropical - Galaxia Tropical (Analog Africa No.43)","description":"\u003cp\u003e\u003cstrong\u003ePre-Order! Versand ab 06.02.2026!!!\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eLimited Edition 180 G Vinyl with Gatefold Cover\u003c\/p\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eOn April 18, 2019, fresh off the plane in Iquitos, I jumped into the taxi of an elderly gentleman and immediately knew that the stars were aligned. As we rode toward the city center, I explained that I had come to the Peruvian Amazon to find Ranil. “You mean Ranil the singer? I know where he lives,” he replied, as if it were the most natural thing in the world. “He has a radio station — I’ll take you there.” We arrived in the heart of the frenetic Belén market 30 minutes later, and before I knew it, I was no longer searching for the man — I was standing right in front of him. Ranil and I hit it off immediately and ended up spending a month working together on this project.\u003cbr\u003e\u003cbr\u003eA year later, in early 2020, I booked a flight back to Perú, this time carrying with me the first volume of Ranil y Su Conjunto Tropical, freshly pressed on vinyl. The plan, together with Ranil, was to organise a release party in Lima and then continue on to Iquitos, but it was not meant to be. Before we could gather, a lockdown paralyzed the country, and Ranil passed away on April 24, 2020. Those who knew him best said that the silence that fell over his beloved neighbourhood was the one thing his heart could not endure.\u003cbr\u003e\u003cbr\u003eBorn in 1935 as Jorge Raúl Llerena Vásquez, Ranil’s story begins in the Peruvian Amazon, in a corner where the sounds of the\u003cspan class=\"bcTruncateMore\"\u003e forest fuse with stray radio waves from Colombia, Brazil, and Ecuador. After winning several local singing contests as a young man, he quickly realized that breaking into Peru’s music industry — especially as an artist from “the end of the world” — would not be an easy path. So he focused on his studies, becoming a teacher in a rural town near the Brazilian border, quietly writing his first songs to the rhythm of jungle life.\u003cbr\u003e\u003cbr\u003eYears later, back in Iquitos, destiny arrived in the form of Johnny Quinteros of Los Silver’s, who invited Ranil to join as singer. Their two albums recorded in the early 1970s, became cult treasures. When the band dissolved, the lead guitarist Limber Zumba and Ranil teamed up and recorded a demo that they took to Lima in search of a recording company. Returning disappointed from the capital — where unacceptable conditions had been proposed — Ranil decided to start his own label, Producciones Llerena, something unheard of in this part of the Peruvian Amazon.\u003cbr\u003e\u003cbr\u003eWith a rotating cast of brilliant musicians such as Luis Nigro, Emilio Piña, and Betto Gaviria by his side, Ranil crafted a sound that locals lovingly called \"llullampeo\" — imaginative, unpredictable, and fabulously unrestrained. His percussionists wove grooves that have not resurfaced in the region since, and the 14 songs presented here remain some of the most vivid document of that fearless, free-spirited, often psychedelic ensemble.\u003cbr\u003e\u003cbr\u003eOver the years, Ranil released more than a dozen LPs, though often in beautiful disorder. Mismatched covers, wrong labels, missing song titles, chaotic management — Producciones Llerena was not meant to survive the test of time.\u003cbr\u003e\u003cbr\u003eBy the 1980s, as Amazonian cumbia faded and new trends took over, Ranil reinvented himself as a radio pioneer, founding Radio Llerena in the heart of Belén’s market. Its loudspeakers filled the neighbourhood with cumbia, commentary, and community news, turning him into one of Iquitos’s best-known voices and setting him on the path to politics. Outraged by Amazonian injustices, Ranil ran several times for Mayor of Belén with the Popular Action party, but he never won an election.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e*** Epilogue by Samy Ben Redjeb ***\u003cbr\u003e\u003cbr\u003eWhile I was stuck in Lima during the lockdown, I uploaded a selection of previously unreleased Ranil songs to our Bandcamp for a symbolic sum of $1. The collection was titled “Stay Safe \u0026amp; Sound – The Ranil Selection.” To my surprise, people began contributing far more than the suggested amount. \u003cbr\u003e\u003cbr\u003eLooking for meaningful ways to put that money to use, I got in touch with Berlin-based Peruvian music producer Diego Hernández of the Eck Echo label. During our first conversation, I learned that in Iquitos, many people were dying primarily due to a shortage of oxygen. Diego told me about Father Raymundo Portelli, a priest who had been coordinating a fundraising campaign to acquire an oxygen plant for the city’s inhabitants. He was clearly the person we needed to support.\u003cbr\u003e\u003cbr\u003eDiego and I joined forces to establish the Amazonía Relief Fund, actively encouraging contributions while featuring the Ranil selection as our centerpiece. Within two weeks, we had raised approximately €13,000, which was donated directly to Father Raymundo to facilitate the purchase of a second oxygen plant—likely saving many lives.\u003cbr\u003e\u003cbr\u003eEven in death, Ranil was doing God’s work!\u003c\/span\u003e\u003cspan\u003e  \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleases February 6, 2026\u003c\/div\u003e","brand":"Want Some Records","offers":[{"title":"Default Title","offer_id":52716251709777,"sku":null,"price":29.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/5843\/8993\/files\/0041915066_10.jpg?v=1767188018"},{"product_id":"space-echo-the-mystery-behind-the-cosmic-sound-of-cabo-verde-finally-revealed-analog-africa-nr-20","title":"Space Echo - The Mystery Behind the Cosmic Sound of Cabo Verde Finally Revealed! (Analog Africa Nr. 20)","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eIn 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.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIt 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.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe 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.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eOne 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\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e the area.\u003cbr\u003e\u003cbr\u003ePortuguese 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.\u003cbr\u003e\u003cbr\u003eWhat 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.\u003cbr\u003e\u003cbr\u003eFinally, 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.\u003cbr\u003e\u003cbr\u003eIt 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!\u003cbr\u003e\u003cbr\u003eThe 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.\u003cbr\u003e\u003cbr\u003e8 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”.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Want Some Records","offers":[{"title":"Default Title","offer_id":54058749559121,"sku":null,"price":29.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/5843\/8993\/files\/SpaceEcho.jpg?v=1781386731"},{"product_id":"congo-funk-sound-madness-from-the-shores-of-the-mighty-congo-river-kinshasa-brazzaville-1969-1982-analog-africa-no-38","title":"Congo Funk! - Sound Madness From The Shores Of The Mighty Congo River (Kinshasa\/Brazzaville 1969-1982) (Analog Africa No. 38)","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eThe making of Congo Funk!, our long-awaited journey to the musical heart of the African continent, took the Analog Africa Team on two journeys to Kinshasa and one to Brazzaville. Selected meticulously from around 2000 songs and boiled down to 14, this compilation aims to showcase the many facets of the funky, hypnotic and schizophrenic tunes emanating from the two Congolese capitals nestled on the banks of the Congo River. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eOn its south shore, the city of Kinshasa – capital of Democratic Republic of the Congo, the country formerly known as Zaïre – is often seen as Africa’s musical Mecca, the city that spawned such immortal bands as African Jazz, O.K. Jazz and African Fiesta, and the place to which aspiring musicians from throughout the continent would go to make a name for themselves.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBut the city of Brazzaville on the north shore of the river – capital of the Congo Republic – played an equally important role in spreading Congolese sounds continentally. In addition to producing legendary bands such as Les Bantous de la Capital, it was the powerful transmitters of Radio Brazzaville that allowed the unmistakable groove of Congolese Rumba to be heard as far away as Nairobi, Yaoundé, Luanda and Lusaka thus turning the electric\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e guitar into the continent’s most important instrument!\u003cbr\u003e\u003cbr\u003eAlthough the musical landscape of these cities had been defined by a core group of bands in the late 1950s, the modernisation of Congolese music has been steadily evolving until the events surrounding the Muhammad Ali vs George Foreman boxing match marked a turning point. The promoter of that event known as “Rumble In The Jungle” was none other than the notorious Don King who needed 10 millions dollars to get Ali and Foreman into a boxing ring. The only candidate willing to put this kind of cash on the table was Mobutu Sese Seko, President of the Democratic Republic of the Congo.\u003cbr\u003e\u003cbr\u003eMobutu - the megalomaniac dictator who got to power with the support of the United States and Belgium in exchange for unlimited and affordable access to the riches of the country - had a soft spot for music and it doesn’t come as a surprise that he agreed to a three-day live music festival being organised prior to the “Rumble”. Zaïre 74 - as the festival was dubbed - was meant to hype the boxing match and many stars were invited.\u003cbr\u003e\u003cbr\u003eAlthough a myriads of artists flocked in for the occasion, it was the performance of James Brown on Zairian soil that caused havoc among the younger generation, inspiring hundreds of would-be musicians to take up their electric guitars and reverbs cranked to the max in search of a new sound in which hyperactive Rumba was blended with elements of psych and funk. While the results were very different from the popular music of the three Musketeers - as Tabu Ley, Franco and Verckys were known - they weren’t a complete break with tradition.\u003cbr\u003e\u003cbr\u003eThese new sounds emerged at a time when the Congolese record industry – previously dominated by European major labels – was experiencing a period of decline due to rising production costs and needed a radical change. The void was filled by dozens of entrepreneurs willing to take chances on smaller scale releases. It was the beginning of a golden age for Congolese independent record labels, and the best of them – Cover N°1, Mondenge, Editions Moninga, Super Contact – preserved the work of some of the region’s finest artists, while launching a generation of younger musicians into the spotlight.\u003cbr\u003e\u003cbr\u003eThe movement was greatly helped by legendary radio shows but it was the dynamic productions of Télé-Zaïre that set the dynamite on fire. Legend has it that TV shows were so huge that president Mobutu himself ordered RTV du Zaïre to put on daily concerts since it halted criminal activities for the duration of the evening. \u003cbr\u003e\u003cbr\u003eCongo Funk! is the story of these sounds and labels, but most of all it is the story of two cities, separated by water but united by an indestructible groove. The fourteen songs on this double LP showcase the many facets of the Congolese capitals, and highlight the bands and artists, famous and obscure, who pushed Rumba to new heights and ultimately influenced the musical landscape of the entire continent and beyond.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Want Some Records","offers":[{"title":"Default Title","offer_id":54058753229137,"sku":null,"price":29.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/5843\/8993\/files\/a0864511867_10.jpg?v=1781386948"},{"product_id":"orchestre-abass-de-bassari-togo-limited-dance-edition-nr-10","title":"Orchestre Abass - De Bassari Togo (Limited Dance Edition Nr. 10)","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eIn 1972, Orchestre Abass released two incredible singles on Polydor. These records - featuring Samarin Banza, Haka Dunia and other afrofunk masterpieces - were powerful enough to knock any music head out, but it wasn’t until the discovery of some unreleased material by the band that the seeds for this project were planted. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIt all happened in 2008 in Ghana. I was going through some tapes that had previously been the property of PolyGram one of the major record companies based in west Africa. In the late 80s political instability and curfews had paralysed the music industry forcing Polygram to close their Ghanaian subsidiaries leaving all of their recordings behind. These recordings had been packed in boxes and left vegetating in an Accra warehouse for three decades until I came along. To my surprise all of the tapes looked unharmed and I was particularly relieved to hear that the Orchestre Abass tape was in an excellent state of condition. I began fiddling around with the idea of releasing an album of the band and that plan got an additional boost with le “coup de grace” which had landed in the form of an ultra rare tune called Honam discovered in Sotoboua, a small northern Togolese town in the middle of nowhere. That find completed this selection.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eI had previously discovered some similar music in\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e Northern Benin and in Nigeria and I started picturing an area that spread all the way from Northern Ghana to Northern Cameroon, an area I dubbed ‘The Islamic funk belt’ due to the fact that Super Borgou de Parakou, Napo De Mi Amor, Uppers International and Hamad Kalkaba just to name a few - all from that ‘belt’ - were groups made up of musicians with an Islamic background. This can be felt and heard in the music and particularly in the singing since many of the musicians had attended koranic schools and the languages used in the songs often had Arabic elements fused in - Orchestra Abass was one of them. \u003cbr\u003e\u003cbr\u003eWith their heavy, organ-led sound combining with the deftest of musical touches, these records were the work of a rhythmic powerhouse and we are honoured to be in a position to present the recordings of Togo´s funkiest Band.\u003cbr\u003e\u003cbr\u003eUnfortunately Malam Issa Abass, the founder, guitarist and organ player of the band, was killed in 1993 by a grenade thrown into his bedroom and to help me reconstruct the biography of the band I tracked down Thon Komla, one of the band´s songwriters and Abderaman Issa, the guitar player of the band. \u003cbr\u003e\u003cbr\u003eAll the music was licensed directly from the various composers of these songs. The vinyl is pressed on 180 High Quality Virgin Vinyl and the gatefold contains previously unseen pictures and a detailed biography of the might band.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Want Some Records","offers":[{"title":"Default Title","offer_id":54058758832465,"sku":null,"price":29.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/5843\/8993\/files\/a4014386142_10.jpg?v=1781387119"},{"product_id":"antoine-dougbe-et-lorchestre-poly-rythmo-de-cotonou-1977-1982-analog-africa-no-44","title":"Antoine Dougbé et L'Orchestre Poly-Rythmo De Cotonou 1977 - 1982 (Analog Africa No.44)","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eAntoine Dougbé – The Devil’s Prime Minister\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWho was Antoine Dougbé? Even the most dedicated crate-digger might go their whole life without stumbling across any of the three LPs he released in the late 1970s and early ’80s. Yet all the musicians who happened to cross paths with him remember him with a mixture of admiration and fear; for Antoine Dougbé was not merely one of the most inventive songwriters to emerge from the fertile music scene of Cotonou, but also a powerful Vodún initiate whose close connection to the spirit world allowed him to refer to himself as “the Devil’s prime minister.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAs a young man he moved from Abomey to Cotonou, a city that had established itself as one of the centres of the West African music scene. There he encountered most of the popular styles of African and Latin music and, like many of his generation, found himself drawn to Cuban son and rumba. Although he was particularly attracted to Congolese rhythms, it was his fascination with the traditional rhythms of Benin—especially those associated with Vodún ceremonies—that allowed Dougbé to take his music in directions far removed from anything happening in the Congo.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eEarly in his career, Dougbé was known for\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e intimidating and threatening musicians if they didn’t play to his liking, and when the time came to find a band willing to record with him, he struggled. But according to Mélomé Clément, founder of the mighty Orchestre Poly-Rythmo de Cotonou, Dougbé posed no problem for them, since the band’s drummer, Yehouessi Leopold, and bassist, Bentho Gustave, were themselves initiated into Vodún and Dougbé never dared to challenge them.\u003cbr\u003e\u003cbr\u003eDougbé was unique among the band’s external collaborators in that he neither sang nor performed any of the main instrumental parts. It has been suggested that his involvement with Vodún—in which singing plays a crucial role in important rituals—effectively prohibited him from using his voice for anything as frivolous as a popular song. Instead he provided his songs to Melome Clément, who arranged them for the band; most of the vocals were handled by Lohento Eskill and Amoussou William.\u003cbr\u003e\u003cbr\u003eWhether driven by the thrill of the music or by fear of crossing the Devil’s prime minister, Dougbé’s records all feature Orchestre Poly-Rythmo playing at the absolute height of their considerable powers. \u003cbr\u003e\u003cbr\u003eDougbé released three LPs and a handful of singles under his own name, the first, which appeared in 1977 on Disques Tropiques. And although Dougbé achieved moderate success with the early single “Nounignon Ma Kpon Midji”, his other records never quite found the audience they deserved, and by the early eighties he had vanished from the music scene. \u003cbr\u003e\u003cbr\u003eIllness struck in 1992, prompting a move to Parakou in northern Benin, where he lived and worked for four more years. Antoine Dougbé died of cirrhosis of the liver on 20 September 1996, while on holiday in his former home of Cotonou—leaving behind a small but extraordinary body of work, and a legacy still wrapped in mystery.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Want Some Records","offers":[{"title":"Default Title","offer_id":54058764370257,"sku":null,"price":29.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/5843\/8993\/files\/a2556310449_10.jpg?v=1781387263"},{"product_id":"los-orientales-de-paramonga-1972-1976-analog-africa-no-45","title":"Los Orientales de Paramonga 1972-1976 (Analog Africa No.45)","description":"\u003cp\u003e\u003cstrong\u003ePre-Order! Record comes 19th June.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eIn the late 1960s, the coastal city of Paramonga, just a three-hour drive north of Lima, gave rise to a vibrant music scene shaped by surf, rockabilly, and tropical sounds. Among its protagonists were two musicians, Víctor Ramírez and Maximiliano Chávez, who, with their psychedelic guitars, Fender amplifiers, and wah-wah pedals, would define not only their own sound but also shape the musical identity of the region.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eUnder the mentorship of their manager, Néstor “Romanito” Robles, the two guitarists added a few remarkable percussionists to the lineup and formed Los Orientales. Their debut single, \"Lobos Al Escape,” recorded in 1970, reached the very top of the Peruvian charts, catapulting the band to national fame and spreading their electrifying cumbia throughout the country. Despite this early success, internal tensions led to a split between Víctor and Maximiliano, resulting in two rival groups with the exact same name.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eSeeking wider recognition, Los Orientales de Paramonga of Víctor Ramírez - the band featured in this project — traveled to Lima and signed with Sono Radio, the country’s leading label. Under the direction of Argentine producer Enrique Lynch, they recorded a series of successful singles before releasing their debut album\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e, \"Con Sabor Tropical,\" in 1972. Blending cumbia with guaracha, salsa, and guaguancó, the band gained national acclaim and expanded their audience through relentless touring.\u003cbr\u003e\u003cbr\u003eTheir follow-up album \"Tremendo Ritmo\" from 1973 further cemented their reputation, incorporating vocal arrangements and aiming to rival top tropical acts of the era. Known for their electrifying live performances — often playing multiple venues in a single night — they eventually won over audiences in the capital after dominating northern Peru.\u003cbr\u003e\u003cbr\u003eBy the mid-1970s, after several releases including “Ritmo Para Ti”, Ramírez concluded his chapter with Sono Radio and continued evolving musically, later embracing emerging styles such as chicha and experimenting across genres. His former counterpart, Maximiliano Chávez, withdrew from professional music altogether.\u003cbr\u003e\u003cbr\u003eToday, Víctor Ramírez lives in Genoa, Italy, leaving behind a legacy as one of Peru’s most innovative and versatile musicians — an artist who helped shape modern cumbia while never forgetting his roots.\u003cbr\u003e\u003cbr\u003eThe seven songs on Side A of this compilation are from the LP “Con Sabor Tropical”, and the six songs on Side B are from the LP “Tremendo Ritmo”, while Sides C and D are compilations drawn from their 45 RPM singles. Together, these recordings offer a complete journey through the sound and spirit of Los Orientales de Paramonga at their peak.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Want Some Records","offers":[{"title":"Default Title","offer_id":54058772693329,"sku":null,"price":29.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/5843\/8993\/files\/a3262004619_10.jpg?v=1781387503"}],"url":"https:\/\/wantsomerecords.com\/collections\/analog-africa.oembed?page=2","provider":"Want Some Records","version":"1.0","type":"link"}