1
Sai Galaxy - Rendezvous Feat. Vanessa Baker
2
Sai Galaxy - Obio Feat. Gabriel Otu
3
Sai Galaxy - Don't Wanna Be Your Lover Feat. Raymond Lédon
4
Sai Galaxy - Get It In The Sun Feat. Olugbade Okunade
Tracklist:
Side A
1. Rendezvous
feat. Vanessa Baker
2. Obio feat. Gabriel Otu
Side B
1. Don’t Wanna Be Your Lover feat. Raymond Lédon
2. Get It In The Sun feat. Olugbade Okunade
As the name suggests, Sai Galaxy represents a star-studded cluster of artists from around the world – their varied styles colliding to form a refreshing fusion of classic Afrobeat, disco and West African funk.
Drawing from the influence of 70s and 80s Nigerian artists such as Nkono Teles, Jake Sollo and Mike Umoh, the Sai Galaxy collective is on a mission to reproduce the analogue warmth and groove from those decades. Consequently, they lean heavily on 70s production techniques - free from the predictable rigidity of digital sequencing. Combined with a wealth of live music experience between them, the result is a melting pot of musicians flying in such tight formation you’d be forgiven for assuming they’d passed through quantisation.
It comes as no surprise then that many of the musicians on the Get It As You Move EP have previously collaborated on other projects. The symbiotic relationship is undeniable - from the raw unadulterated drums, to the wobbly bass, squelchy synth, smoky vocals and spontaneous percussive jams.
Spearheaded by Australian multi-instrumentalist Simon Durrington (who also produces under the moniker Sai Galaxy), the members include Olugbade Okunade - former trumpet player from Seun Kuti’s Egypt 80 - as well as guests Gabriel Otu, Ray Lédon and Vanessa Baker.
Several of these artists appear with Digital Afrika, the live electronic outfit from Simon Durrington and Zhonu Moon, which signed in 2020 to Carl Cox’s imprint Awesome Soundwave. Others include Papua New Guinean musician Ray Lédon, who performs alongside Durrington in Sorong Samarai, a political band primarily made up of West Papuan indigenous tribes living in exile.
While the EP seeks to reflect 70s production, glimpses of contemporary elements can be found in the arrangements and harmonies, at times reminiscent of modern artists such as Lord Echo, Bosq and Voilaaa. On the lead single ‘Rendezvous’, featuring the sultry vocals of Vanessa Baker, the drums temporarily slip out of four-to-the-floor and into a shuffling breakbeat, while Ray Lédon’s voice gets a distorted, filtered treatment on ‘Don’t Wanna Be Your Lover’.
Channelling West African funk with a touch of psychedelia is the single ‘Obio’, featuring lyrics in the language of Ga, as sung by Ghanaian artist Gabriel Otu. On each track, the ensemble explores the theme of the dancefloor experience - finally epitomised by ‘Get It In The Sun’, a joyful rallying call to join the festivities. As Durrington believes: “dance is vital to health and community”. And with an EP that urges you to dance from start to finish, consider Sai Galaxy a cosmic tonic for the modern lifestyle.
Mastered by Daniel San
Lacquers cut by Lewis Hopkin at Star Delta
Original artwork by Lewis Heriz More
Side A
1. Rendezvous
feat. Vanessa Baker
2. Obio feat. Gabriel Otu
Side B
1. Don’t Wanna Be Your Lover feat. Raymond Lédon
2. Get It In The Sun feat. Olugbade Okunade
As the name suggests, Sai Galaxy represents a star-studded cluster of artists from around the world – their varied styles colliding to form a refreshing fusion of classic Afrobeat, disco and West African funk.
Drawing from the influence of 70s and 80s Nigerian artists such as Nkono Teles, Jake Sollo and Mike Umoh, the Sai Galaxy collective is on a mission to reproduce the analogue warmth and groove from those decades. Consequently, they lean heavily on 70s production techniques - free from the predictable rigidity of digital sequencing. Combined with a wealth of live music experience between them, the result is a melting pot of musicians flying in such tight formation you’d be forgiven for assuming they’d passed through quantisation.
It comes as no surprise then that many of the musicians on the Get It As You Move EP have previously collaborated on other projects. The symbiotic relationship is undeniable - from the raw unadulterated drums, to the wobbly bass, squelchy synth, smoky vocals and spontaneous percussive jams.
Spearheaded by Australian multi-instrumentalist Simon Durrington (who also produces under the moniker Sai Galaxy), the members include Olugbade Okunade - former trumpet player from Seun Kuti’s Egypt 80 - as well as guests Gabriel Otu, Ray Lédon and Vanessa Baker.
Several of these artists appear with Digital Afrika, the live electronic outfit from Simon Durrington and Zhonu Moon, which signed in 2020 to Carl Cox’s imprint Awesome Soundwave. Others include Papua New Guinean musician Ray Lédon, who performs alongside Durrington in Sorong Samarai, a political band primarily made up of West Papuan indigenous tribes living in exile.
While the EP seeks to reflect 70s production, glimpses of contemporary elements can be found in the arrangements and harmonies, at times reminiscent of modern artists such as Lord Echo, Bosq and Voilaaa. On the lead single ‘Rendezvous’, featuring the sultry vocals of Vanessa Baker, the drums temporarily slip out of four-to-the-floor and into a shuffling breakbeat, while Ray Lédon’s voice gets a distorted, filtered treatment on ‘Don’t Wanna Be Your Lover’.
Channelling West African funk with a touch of psychedelia is the single ‘Obio’, featuring lyrics in the language of Ga, as sung by Ghanaian artist Gabriel Otu. On each track, the ensemble explores the theme of the dancefloor experience - finally epitomised by ‘Get It In The Sun’, a joyful rallying call to join the festivities. As Durrington believes: “dance is vital to health and community”. And with an EP that urges you to dance from start to finish, consider Sai Galaxy a cosmic tonic for the modern lifestyle.
Mastered by Daniel San
Lacquers cut by Lewis Hopkin at Star Delta
Original artwork by Lewis Heriz More
More records from Sai Galaxy
1
Sai Galaxy - Sometimes It Rains (Feat. Kaivili)
2
Sai Galaxy - Okere (Feat. Bade)
3
Sai Galaxy - Rich Man, Poor Man (Feat. ROB)
4
Sai Galaxy - Hold Me Tonight (Feat. Steve Monite)
The star-studded Sai Galaxy project returns, bringing together West African legends Steve Monite and Rob with multi-instrumentalist Simon Durrington, guitar maestro Alfred Bannerman and Egypt 80 trumpet player Bade for a second EP of vital Afro Disco and Soul. The EP follows up 2022’s “Get It As You Move” EP, blending layers of vocal harmonies and synth washes with a rock solid disco base. The sound stays faithful to the analogue production techniques of the 70s and 80s, adding a modern touch informed by Simon Durrington’s Digital Afrika project.
Lead single Hold You Tonight features Nigerian disco icon Steve Monite (best known for his mega hit “Only You”), revisiting his 80s origins with a dancefloor-ready slice of dubby boogie.
Rich Man Poor Man (featuring Ghana’s very own Rob) slows down the tempo and brings the highlife influence to the fore, while Sometimes It Rains brings a neo soul bump with the Omar-esque sound of Fijian vocalist Kaivili. More
Lead single Hold You Tonight features Nigerian disco icon Steve Monite (best known for his mega hit “Only You”), revisiting his 80s origins with a dancefloor-ready slice of dubby boogie.
Rich Man Poor Man (featuring Ghana’s very own Rob) slows down the tempo and brings the highlife influence to the fore, while Sometimes It Rains brings a neo soul bump with the Omar-esque sound of Fijian vocalist Kaivili. More
More records from Soundway Records
1
Ozzobia - Ndi Oma
2
Sammy Obot - Edue Ukot Akpa Itong
3
Eppi Fanio - Farofa Dancer
4
Etiene T. Boy - Jealousy
5
Pal Sagie - Esan
6
Ayo Manuel - Do Good (Dub)
7
Chimex G. Udensity And His Afrikan Band - Okpoko Na Azo Eze
8
I.S.C.A.C. Band - Igbo Nwe Egwu
9
Jeje - Jeje
10
Dizzy K - Omoge
11
Blackman Akeeb Kareem - Oya A (Eje Kajo)
12
Mannix Okonkwo - Ka Nyi Gbaa Egwu
13
Jimi Solanke - Owo Orisa - Ancestral Respects
14
Feladey - Experience
15
Soki Ohale - Wumaya Awuma
16
Jap Band & Feladey - Japadodo
17
Sonny Okosun - Highlife (Dub)
18
B.G. and Fibre - (G#) Thanks And Praises
19
Wura Fadaka Band - Eyo
Soundway Records presents a collection of Nigerian music chronicling a time when drum machines, synthesisers, imported pop, reggae, disco and soul collided with highlife, juju and cultural music.
The late 70s saw a period of political turbulence and prompted change across the country. Following suit, musicians and producers entered a period of experimentation, adaptation, modification and innovation, using new technology to renew and refresh cultural traditions. Nigerians formed their own unique approach to the limitless creativity these new instruments offered, to reveal a distinct sound which would dominate local airwaves for the decade to come. Nigeria Special Volume 3 celebrates the rich diversity of culture and musical styles of the nation, showcasing eighteen tracks across various genres which laid foundations for the innovation of Afrobeats artists of today.
Triple Vinyl gatefold LP compiled by Miles Cleret and Jeremy Spellacey, includes a large 8 page booklet with detailed liner notes, record scans and never-seen-before photos. More
The late 70s saw a period of political turbulence and prompted change across the country. Following suit, musicians and producers entered a period of experimentation, adaptation, modification and innovation, using new technology to renew and refresh cultural traditions. Nigerians formed their own unique approach to the limitless creativity these new instruments offered, to reveal a distinct sound which would dominate local airwaves for the decade to come. Nigeria Special Volume 3 celebrates the rich diversity of culture and musical styles of the nation, showcasing eighteen tracks across various genres which laid foundations for the innovation of Afrobeats artists of today.
Triple Vinyl gatefold LP compiled by Miles Cleret and Jeremy Spellacey, includes a large 8 page booklet with detailed liner notes, record scans and never-seen-before photos. More
1
Fatimah Razak - Dahaga
2
Black Brothers - Mangge Mangge
3
Marini & The Steps - Kuingin Dekatmu
4
Tian Niu - Deng Ni Zai Yu Zhong
5
The Rollies - Disco
6
Regalado - Pinoy Funk
7
John Philips & The Steps - Ayo Ke Disco
8
Aria Yunior - Salah Tingkah
9
Ahmadi Hassan - Habibi (Mari Bersatu)
10
Pongsri Woranuch - Aew...Phu Chai
Soundway Records delivers an exciting new compilation, diving ever deeper into South-East Asia. Ayo Ke Disco celebrates the musical identities emerging during the 1970s and 80s from the newly independent countries nestled around the South China Sea.
This time, Soundway’s long-time general manager Alice Whittington (aka DJ Norsicaa) steps into the limelight, embracing her Malaysian heritage and selecting music from her heavy collection of Asian records. Aside from steering the label, she is often found on international stages and radio stations playing an eclectic array of music.
For Ayo Ke Disco (meaning ‘Let’s go to the disco’ in Indonesian), 10 rare tracks of disco-funk, psychedelic funk, synth, city pop, and Hindustani-Arabic rhythms were painstakingly licensed from local labels – forming a snapshot of the vibrant discotheques and live scenes across Indonesia, Singapore, Thailand, Malaysia, Hong Kong and the Philippines.
The vinyl release is also accompanied by the Ayo Ke Disco zine from Norsicaa, with extensive research on the history of music in South-East Asia, archival photos and exclusive interviews with some of the region’s most respected collectors. More
This time, Soundway’s long-time general manager Alice Whittington (aka DJ Norsicaa) steps into the limelight, embracing her Malaysian heritage and selecting music from her heavy collection of Asian records. Aside from steering the label, she is often found on international stages and radio stations playing an eclectic array of music.
For Ayo Ke Disco (meaning ‘Let’s go to the disco’ in Indonesian), 10 rare tracks of disco-funk, psychedelic funk, synth, city pop, and Hindustani-Arabic rhythms were painstakingly licensed from local labels – forming a snapshot of the vibrant discotheques and live scenes across Indonesia, Singapore, Thailand, Malaysia, Hong Kong and the Philippines.
The vinyl release is also accompanied by the Ayo Ke Disco zine from Norsicaa, with extensive research on the history of music in South-East Asia, archival photos and exclusive interviews with some of the region’s most respected collectors. More
1
Dar Disku - Leil
2
Dar Disku - Alsutur Ft. FLANAH
3
Dar Disku - Sabir Ft. Billur Battal
4
Dar Disku - Ddayli Ft. Yacine El Khaldi
5
Dar Disku - Baar Baar Ft. Asha Puthli
6
Dar Disku - Ya Nas
7
Dar Disku - Galbi Ft. Aymen Attia
8
Dar Disku - Fajr
Preview: https://www.youtube.com/watch?v=UH275gX4auQ
The debut album from Bahraini-born, British-based musical duo Dar Disku is a celebration of their Arabic heritage and multicultural influences that melds golden age West Asian and North African sounds with a contemporary dance floor focus. Recorded between the UK, Algeria, Turkey and Tunisia, the album seamlessly crosses from disco to Raï, piano house to Turkish psychedelia, ambient to Bollywood and features guest artists from Algeria, Turkey and Bahrain as well as legendary Indian singer Asha Puthli.
Dar Disku is the innovative duo of Mazen Almaskati and Vish M, known for their dynamic DJ sets and eclectic mixes, into which they bring a deep-rooted passion for the rich musical traditions of the SWANA region (South West Asia and North Africa).
The self-titled album is a culmination of years of learning, listening, and creating. It serves as a transportive portal into the duo's expansive world beyond the dance floor, capturing the cosmic emotions of cinema through a meticulous analog approach to live recordings. It channels a wide range of influences, including Egyptian folk, Turkish psych, Algerian rai, Sudanese funk, Ethiopian jazz, and Khaleeji disco.
“Sonically we have tried to capture what time traveling with Dar Disku through our different influences would feel like,” they say of their recording process, “and although inspired directly some of our favourite hidden gems from the past, the sound of this record remains unmistakably rooted in our present day where current influences from electronic genres, hip hop, jazz and psychedelia also shine through.”
The pair explain that they learnt much of this through their own previously released edits of middle eastern music “which inspired us to create our own brand new original songs that draw from a similar breath. We've been able to combine this with our contemporary inspirations and bring to life something that is comfortingly nostalgic and yet refreshingly new.”
Vish and Maz have put immense effort into researching the songwriting and recording methods of the decades they draw inspiration from - utilising vintage consoles, analog synthesisers, and carefully crafted sonic spaces. This dedication is evident in every track, which combines their contemporary influences with the rich musical traditions of the region to create something that feels both timeless and innovative. More
The debut album from Bahraini-born, British-based musical duo Dar Disku is a celebration of their Arabic heritage and multicultural influences that melds golden age West Asian and North African sounds with a contemporary dance floor focus. Recorded between the UK, Algeria, Turkey and Tunisia, the album seamlessly crosses from disco to Raï, piano house to Turkish psychedelia, ambient to Bollywood and features guest artists from Algeria, Turkey and Bahrain as well as legendary Indian singer Asha Puthli.
Dar Disku is the innovative duo of Mazen Almaskati and Vish M, known for their dynamic DJ sets and eclectic mixes, into which they bring a deep-rooted passion for the rich musical traditions of the SWANA region (South West Asia and North Africa).
The self-titled album is a culmination of years of learning, listening, and creating. It serves as a transportive portal into the duo's expansive world beyond the dance floor, capturing the cosmic emotions of cinema through a meticulous analog approach to live recordings. It channels a wide range of influences, including Egyptian folk, Turkish psych, Algerian rai, Sudanese funk, Ethiopian jazz, and Khaleeji disco.
“Sonically we have tried to capture what time traveling with Dar Disku through our different influences would feel like,” they say of their recording process, “and although inspired directly some of our favourite hidden gems from the past, the sound of this record remains unmistakably rooted in our present day where current influences from electronic genres, hip hop, jazz and psychedelia also shine through.”
The pair explain that they learnt much of this through their own previously released edits of middle eastern music “which inspired us to create our own brand new original songs that draw from a similar breath. We've been able to combine this with our contemporary inspirations and bring to life something that is comfortingly nostalgic and yet refreshingly new.”
Vish and Maz have put immense effort into researching the songwriting and recording methods of the decades they draw inspiration from - utilising vintage consoles, analog synthesisers, and carefully crafted sonic spaces. This dedication is evident in every track, which combines their contemporary influences with the rich musical traditions of the region to create something that feels both timeless and innovative. More
Following on from his previous debut album Tape 1/Tape 2 on Soundway, Felbm delivers Tape 3/Tape 4: an intimate, emotional, lilting and melodic solo project. These 14 lo-fi, instrumental, jazz-infused sketches were written on guitar, with cascading keyboards, vibraphone and drum machine. Possessing a restorative and soothing quality, it goes some way to balancing out a chaotic year for the world at large. With echoes of the dreamier end of 1980s English indie-pop, minimal ambient music and Brazilian bossa-nova, Topper"s musical storybook includes touches of The Durutti Column, hints of Antônio Carlos Jobim and Baden Powell, whilst all set firmly in the summer fields of Germany and the Netherlands. The recording method used for the creation and recording of Tape 3 and Tape 4 follows the same as his previous release: all sketches were initially recorded onto cassette on a 4-track tape machine. Most notably a vibraphone finds its way onto almost every track fitting Topper"s sound-palette perfectly: warm yet distinctive, a percussive as well as sustaining sound that evokes some melancholy and a certain timeless nostalgia. Features that most certainly also apply to the other "new" instrument on the tapes: mellotron flutes. Tape 3/Tape 4 navigates the space between quiet, open, meditative tunes and more solid instrumental works, reflecting his constant search for an optimal balance between stillness and movement.
Tracklist
1.1Filatelie
1.2Tartufai
1.3Tiquetonne
1.4Veluwe
1.5Herausweh
1.6Talmen
1.7Heisei
1.8Brunnengasse
1.9Colorists
1.10Langeweile
1.11Beaufort
1.12Somnambulant
1.13Regtur
1.14Midori More
Tracklist
1.1Filatelie
1.2Tartufai
1.3Tiquetonne
1.4Veluwe
1.5Herausweh
1.6Talmen
1.7Heisei
1.8Brunnengasse
1.9Colorists
1.10Langeweile
1.11Beaufort
1.12Somnambulant
1.13Regtur
1.14Midori More
1
Papillon - Moulongo (Vocal)
2
Papillon - Moulongo (Dub)
3
Papillon - Moulongo (Poirier Dub)
Soundway presents Ferdinand ‘Maréchal’ Papillon’s underground club classic Moulongo - recorded in Paris in 1995 and highlighting the Zouk/dancehall/Makossa crossover sound that was then coming out of the city’s studios. Features a new remix from Canadian producer Poirier for a 2024 bassline zouk mover, cut loud and proud on 12” vinyl.
Ferdinand ‘Maréchal’ Papillon was part of the makossa wave that moved from Cameroon to France and across the African diaspora in the 80s and 90s, bringing the sounds of rhythms of Douala and Yaoundé to the clubs and dancefloors of Paris. Although best known for his Sakissa style - his own uptempo take on the makossa of Cameroon - Papillon also regularly featured zouk and reggae influenced tracks on his albums, combining Caribbean and African influences into a unique sound that has stood the test of time.
‘Moulongo’ originally appeared on Papillon’s highly sought after 1995 album “Homme fort….je suis sérieux” and was recorded at Studio de la Madeleine in Paris. The Moulongo session features a who’s who of the Paris scene of the time - Aladji Touré and Toto Guillaume from Cameroon as well as Congolese guitar greats Ngoma Lokito and Nene Tchacou - and combines dancehall, zouk and makossa elements for a pan-African dancefloor sureshot. More
Ferdinand ‘Maréchal’ Papillon was part of the makossa wave that moved from Cameroon to France and across the African diaspora in the 80s and 90s, bringing the sounds of rhythms of Douala and Yaoundé to the clubs and dancefloors of Paris. Although best known for his Sakissa style - his own uptempo take on the makossa of Cameroon - Papillon also regularly featured zouk and reggae influenced tracks on his albums, combining Caribbean and African influences into a unique sound that has stood the test of time.
‘Moulongo’ originally appeared on Papillon’s highly sought after 1995 album “Homme fort….je suis sérieux” and was recorded at Studio de la Madeleine in Paris. The Moulongo session features a who’s who of the Paris scene of the time - Aladji Touré and Toto Guillaume from Cameroon as well as Congolese guitar greats Ngoma Lokito and Nene Tchacou - and combines dancehall, zouk and makossa elements for a pan-African dancefloor sureshot. More
1
Barbara Hernandez - All Nite Tonight (Vocal)
2
Barbara Hernandez - All Nite Tonight (Version)
Cult soca disco 12”, produced by Leston Paul and originally released in 1984 - now available for the first time in 40 years.
Barbara Hernandez was working as a backing singer for Kool and the Gang in New York at the time the track was recorded, and the session featured their horn section as well as a who’s who of the Trinidad music scene for what would be Barbara’s only solo release. Suffering from poor distribution at the time of release, the 12” failed to make waves at the time but is now lovingly remastered and cut loud, a sure fire dancefloor sure shot. More
Barbara Hernandez was working as a backing singer for Kool and the Gang in New York at the time the track was recorded, and the session featured their horn section as well as a who’s who of the Trinidad music scene for what would be Barbara’s only solo release. Suffering from poor distribution at the time of release, the 12” failed to make waves at the time but is now lovingly remastered and cut loud, a sure fire dancefloor sure shot. More
1
The Godfathers - Ebe Ye Yie Ni
2
Pat Thomas - Gye Wani
3
Pepper, Onion, Ginger & Salt - M.C. Mambo
4
Andy Vans - Adjoa Amisa
5
George Darko - Kaakyire Nua
6
Rex Gyamfi - Obiara Bewu
7
Starlite - Anoma Koro
8
Abdul Raheem - Alaiye
9
Jon K - Asafo
10
Kwasi Afari Minta - Barima Nsu
11
Marijata (feat. Ata Kak) - Otanhunu
12
Gyedu Blay Ambolley - Apple
13
Dadadi - Jigi Jigi
14
Charles Amoah - Fre Me (Call Me)
15
Ernest Honny - New Dance
16
Bessa Simons - Sii Nana
17
Nan Mayen - Mumude
18
Nana Budjei - Asobrachie
In the early 1980s, a particular alchemy between new musical technologies and significant social, cultural, and political transformations in Ghana gave rise to a new style of highlife. Drum machines and synthesisers appeared alongside lilting guitar lines and punchy horns, and the emerging Ghanaian diaspora began incorporating US disco and boogie, R&B, European new wave, and Caribbean zouk and soca into their music.
This style soundtracked the birth of a new, proud Ghanaian identity and captured the idiosyncrasies of a rapidly changing postcolonial society, marked by increased migration and wider access to global sounds and modern technology.
More than 20 years after the release of the heavy funk and Afrobeat-focused Ghana Soundz compilations, and following the success of 2009’s Ghana Special: Modern Highlife, Afro Sounds & Ghanaian Blues 1968-1981, Soundway is now shining the spotlight on the multifaceted, diasporic sounds of the ‘80s on new compilation Ghana Special - Volume 2, a collection of 18 burger highlife, electronic afrobeat, and reggae tracks.
Though Ghanaian to its very core, burger highlife emerged mostly outside of Ghana and just as the sun was setting on the country’s musical golden age. In the 1960s and 1970s cities such as Accra, Tema, Takoradi, and Cape Coast were home to thriving music scenes, and the loud horn sections of the big highlife bands, or the simpler, socially conscious palm wine music ruled the dance halls, locals drinkeries, and airwaves.
Back then music represented a powerful force, and an artist’s endorsement or dissent could make or break a politician. Perhaps to curb this power, the incoming military regime-imposed curfews and substantial import taxes on musical instruments in the early 1980s. These measures, coupled with a profound economic downturn and shifting musical preferences that saw DJs replacing large live bands, served as the final blow to Ghana's once-thriving music scene.
Musicians left Ghana in droves, scattering across West Africa, Europe, and North America. Thanks in part to its more permissive migration policies Germany became the heart of this scene, and the movement in fact takes its name from “Bürger”, the German for “citizen”. Less confined by genres than back in Ghana, artists in the diaspora were quick to engage with the different styles, working disco, boogie, and funk into their highlife melodies. Access to state-of-the-art studios and modern musical technologies also gave birth to all sorts of mutations: burger highlife in fact is less defined by one particular sound, than by the experimental approach and global outlook of its artists.
Tracks such as Ernest Honny’s experimental cut “New Dance” are an example of just how far artists strayed from original highlife arrangements. Honny, who started his career as a keyboard player with Dr K Gyasi’s band The Noble Kings, had moved to Benin in the 1980s, where he experimented with synthesisers and drum machines at one of Cotonou’s top studios. Similarly, Nan Mayen’s “Mumude” is a slick, 80’s pop track which was recorded in Germany, with only a slight echo of highlife in its opening Fanti lyrics.
This generation of artists found inspiration in sounds that transcended geographical boundaries: singer and guitarist Nana Budjei, who was originally from central Ghana but had moved to the UK in the 1980s, says that his radiant, sun-drenched 1988 track “Asobrachie” is “influenced by reggae maestros Bob Marley and Alpha Blondy, and traditional Akan folklore music”; on “Jigi Jigi”, the Kumasi-born, Sweden transplant Delips Apo draws on soca, latin, and zouk influences.
Throughout the 1980s Ghanaian artists kept producing increasingly innovative and experimental hybrids, winning over new audiences abroad. Though back in Ghana the new sound was initially met with disapproval by purists, it slowly became a symbol of a new, worldly and modern Ghanaian identity. The creativity and open mindedness that characterised burger highlife have gone on to shape the evolution of Ghanaian music since, giving artists the freedom to explore new global sounds while preserving a proudly Ghanaian soul. Ghana Special - Volume 2 stands as a vibrant tribute to the lasting legacy of this groundbreaking musical era. More
This style soundtracked the birth of a new, proud Ghanaian identity and captured the idiosyncrasies of a rapidly changing postcolonial society, marked by increased migration and wider access to global sounds and modern technology.
More than 20 years after the release of the heavy funk and Afrobeat-focused Ghana Soundz compilations, and following the success of 2009’s Ghana Special: Modern Highlife, Afro Sounds & Ghanaian Blues 1968-1981, Soundway is now shining the spotlight on the multifaceted, diasporic sounds of the ‘80s on new compilation Ghana Special - Volume 2, a collection of 18 burger highlife, electronic afrobeat, and reggae tracks.
Though Ghanaian to its very core, burger highlife emerged mostly outside of Ghana and just as the sun was setting on the country’s musical golden age. In the 1960s and 1970s cities such as Accra, Tema, Takoradi, and Cape Coast were home to thriving music scenes, and the loud horn sections of the big highlife bands, or the simpler, socially conscious palm wine music ruled the dance halls, locals drinkeries, and airwaves.
Back then music represented a powerful force, and an artist’s endorsement or dissent could make or break a politician. Perhaps to curb this power, the incoming military regime-imposed curfews and substantial import taxes on musical instruments in the early 1980s. These measures, coupled with a profound economic downturn and shifting musical preferences that saw DJs replacing large live bands, served as the final blow to Ghana's once-thriving music scene.
Musicians left Ghana in droves, scattering across West Africa, Europe, and North America. Thanks in part to its more permissive migration policies Germany became the heart of this scene, and the movement in fact takes its name from “Bürger”, the German for “citizen”. Less confined by genres than back in Ghana, artists in the diaspora were quick to engage with the different styles, working disco, boogie, and funk into their highlife melodies. Access to state-of-the-art studios and modern musical technologies also gave birth to all sorts of mutations: burger highlife in fact is less defined by one particular sound, than by the experimental approach and global outlook of its artists.
Tracks such as Ernest Honny’s experimental cut “New Dance” are an example of just how far artists strayed from original highlife arrangements. Honny, who started his career as a keyboard player with Dr K Gyasi’s band The Noble Kings, had moved to Benin in the 1980s, where he experimented with synthesisers and drum machines at one of Cotonou’s top studios. Similarly, Nan Mayen’s “Mumude” is a slick, 80’s pop track which was recorded in Germany, with only a slight echo of highlife in its opening Fanti lyrics.
This generation of artists found inspiration in sounds that transcended geographical boundaries: singer and guitarist Nana Budjei, who was originally from central Ghana but had moved to the UK in the 1980s, says that his radiant, sun-drenched 1988 track “Asobrachie” is “influenced by reggae maestros Bob Marley and Alpha Blondy, and traditional Akan folklore music”; on “Jigi Jigi”, the Kumasi-born, Sweden transplant Delips Apo draws on soca, latin, and zouk influences.
Throughout the 1980s Ghanaian artists kept producing increasingly innovative and experimental hybrids, winning over new audiences abroad. Though back in Ghana the new sound was initially met with disapproval by purists, it slowly became a symbol of a new, worldly and modern Ghanaian identity. The creativity and open mindedness that characterised burger highlife have gone on to shape the evolution of Ghanaian music since, giving artists the freedom to explore new global sounds while preserving a proudly Ghanaian soul. Ghana Special - Volume 2 stands as a vibrant tribute to the lasting legacy of this groundbreaking musical era. More
1
Sai Galaxy - Sometimes It Rains (Feat. Kaivili)
2
Sai Galaxy - Okere (Feat. Bade)
3
Sai Galaxy - Rich Man, Poor Man (Feat. ROB)
4
Sai Galaxy - Hold Me Tonight (Feat. Steve Monite)
The star-studded Sai Galaxy project returns, bringing together West African legends Steve Monite and Rob with multi-instrumentalist Simon Durrington, guitar maestro Alfred Bannerman and Egypt 80 trumpet player Bade for a second EP of vital Afro Disco and Soul. The EP follows up 2022’s “Get It As You Move” EP, blending layers of vocal harmonies and synth washes with a rock solid disco base. The sound stays faithful to the analogue production techniques of the 70s and 80s, adding a modern touch informed by Simon Durrington’s Digital Afrika project.
Lead single Hold You Tonight features Nigerian disco icon Steve Monite (best known for his mega hit “Only You”), revisiting his 80s origins with a dancefloor-ready slice of dubby boogie.
Rich Man Poor Man (featuring Ghana’s very own Rob) slows down the tempo and brings the highlife influence to the fore, while Sometimes It Rains brings a neo soul bump with the Omar-esque sound of Fijian vocalist Kaivili. More
Lead single Hold You Tonight features Nigerian disco icon Steve Monite (best known for his mega hit “Only You”), revisiting his 80s origins with a dancefloor-ready slice of dubby boogie.
Rich Man Poor Man (featuring Ghana’s very own Rob) slows down the tempo and brings the highlife influence to the fore, while Sometimes It Rains brings a neo soul bump with the Omar-esque sound of Fijian vocalist Kaivili. More
1
Black Truth Rhythm Band - Ifetayo
2
Black Truth Rhythm Band - You People
3
Black Truth Rhythm Band - Save D Musician
4
Black Truth Rhythm Band - Kilimanjaro
5
Black Truth Rhythm Band - Aspire
6
Black Truth Rhythm Band - Umbala
7
Black Truth Rhythm Band - Imo
Soundway presents a long-awaited remaster and re-cut of the 1976 album ‘Ifetayo’ by Black Truth Rhythm Band, an important and overlooked chapter in Trinidad’s rich musical history that blends West African influences with jazz, funk and the social commentary of the calypso tradition.
Led by the charismatic Oluko Imo (who went on to record with Fela Kuti and perform with members of Fela’s Egypt 80 band ), the group drew on the strong connections to Yoruba culture and Orisa traditions in Trinidad, looking to Africa for inspiration and reflecting the burgeoning Black Power movement of the time.
Recorded at KH studios in Port of Spain, Ifetayo (Yoruba for ‘Love excels all’) was the group’s sole album release. Imo contributed lead vocals and played bass, kalimba, conga, flute and percussion, channelling music from both sides of the Atlantic into a distinctive and unique slice of Afro Trinidadian expression.
Includes bonus track “Imo” not included on the original LP More
Led by the charismatic Oluko Imo (who went on to record with Fela Kuti and perform with members of Fela’s Egypt 80 band ), the group drew on the strong connections to Yoruba culture and Orisa traditions in Trinidad, looking to Africa for inspiration and reflecting the burgeoning Black Power movement of the time.
Recorded at KH studios in Port of Spain, Ifetayo (Yoruba for ‘Love excels all’) was the group’s sole album release. Imo contributed lead vocals and played bass, kalimba, conga, flute and percussion, channelling music from both sides of the Atlantic into a distinctive and unique slice of Afro Trinidadian expression.
Includes bonus track “Imo” not included on the original LP More
1
Oluko Imo - Oduduwa
2
Oluko Imo - Were Oju Le (The Eyes Are Getting Red)
Reissue of the 80s 12” single from Trinidadian musician Oluko Imo (Black Truth Rhythm Band), featuring Fela Kuti and Femi Kuti.
Recorded between Lagos and New York in 1988, the tracks sit at the fault line of the Trinidad-Yoruba connection, blending calypso heritage with the Afrobeat and jazz of Nigeria
On the A-side, title track ‘Oduduwa’ is a brooding slice of peak-era Transatlantic Afrobeat, blending a heartfelt plea for social justice and equality with a haunting piano line, shuffling drums and ethereal sax solo.
The song takes its name from Oduduwa, the founder of the Ife Empire, who is also seen as a divine Orisha (deity) in Yoruba culture, one that is often evoked by musicians and activists in Trinidad as a signifier of Yoruba heritage on the island.
On the flip, ‘Eyes Are Getting Red (Were Oju Le)’ is a long-lost slice of low slung Afrobeat featuring both Fela and Femi Kuti. Classic Nigerian horns and keys combine with Oluko Imo’s Caribbean-influenced guitar and Fela’s virtuoso sax solo, bridging the musical gap between Lagos and Port of Spain. More
Recorded between Lagos and New York in 1988, the tracks sit at the fault line of the Trinidad-Yoruba connection, blending calypso heritage with the Afrobeat and jazz of Nigeria
On the A-side, title track ‘Oduduwa’ is a brooding slice of peak-era Transatlantic Afrobeat, blending a heartfelt plea for social justice and equality with a haunting piano line, shuffling drums and ethereal sax solo.
The song takes its name from Oduduwa, the founder of the Ife Empire, who is also seen as a divine Orisha (deity) in Yoruba culture, one that is often evoked by musicians and activists in Trinidad as a signifier of Yoruba heritage on the island.
On the flip, ‘Eyes Are Getting Red (Were Oju Le)’ is a long-lost slice of low slung Afrobeat featuring both Fela and Femi Kuti. Classic Nigerian horns and keys combine with Oluko Imo’s Caribbean-influenced guitar and Fela’s virtuoso sax solo, bridging the musical gap between Lagos and Port of Spain. More
1
Gypsy Fari - Chi-Town Reggae
2
Gypsy Fari - Hail Jah
Reissue of the highly sought-after 7” from 1979 by Chicago reggae outfit Gypsy Fari.
Gypsy Fari was a project born in the south side of Chicago, after a chance meeting between St Kitts expat Leroy Webster and local music grad Kevin Coleman. The pair set out to blur the boundaries of genre with their unique brand of music,spearheaded by Webster’s Caribbean roots and fused with the soul and blues the midwest is famous for.
A striking stand-out of the band’s repertoire comes via their debut recording, laid down at Curtis Mayfield’s legendary Curtom Studios. The EP opens with Chi-Town Reggae - a super-charged blend of reggae and disco, led by Websters infectious vocal, steeped in soul and powered by a relentless rhythm section. Hail Jah follows closely, written on the hilltops of the outskirts of Kingston, Jamaica, it’s a deadly roots reggae missile that pays homage to Websters beginnings.
Once dubbed by a local news outlet “Gypsy Fari are to Chicago reggae what Muddy Water is to Chicago blues” - now remastered, repackaged and made available again for the first time since its initial release. More
Gypsy Fari was a project born in the south side of Chicago, after a chance meeting between St Kitts expat Leroy Webster and local music grad Kevin Coleman. The pair set out to blur the boundaries of genre with their unique brand of music,spearheaded by Webster’s Caribbean roots and fused with the soul and blues the midwest is famous for.
A striking stand-out of the band’s repertoire comes via their debut recording, laid down at Curtis Mayfield’s legendary Curtom Studios. The EP opens with Chi-Town Reggae - a super-charged blend of reggae and disco, led by Websters infectious vocal, steeped in soul and powered by a relentless rhythm section. Hail Jah follows closely, written on the hilltops of the outskirts of Kingston, Jamaica, it’s a deadly roots reggae missile that pays homage to Websters beginnings.
Once dubbed by a local news outlet “Gypsy Fari are to Chicago reggae what Muddy Water is to Chicago blues” - now remastered, repackaged and made available again for the first time since its initial release. More
Label:Soundway Records
Cat-No:SNDW12048
Release-Date:29.09.2023
Genre:HipHop/Rap/Urban
Configuration:12"
Label:Soundway Records
Cat-No:SNDW12048
Release-Date:29.09.2023
Genre:HipHop/Rap/Urban
Configuration:12"
1
Rex Omar - Dada
2
Rex Omar - Tokota
3
Rex Omar - Konka
4
Rex Omar - Osisi
5
Rex Omar - Kele Ngele
6
Rex Omar - Dada (Aroop Roy Rework)
Five of Rex Omar's premier cuts remastered for a new self-titled EP - an irresistible blend of street-soul-come-highlife, with elements of bouncing 90s RnB/hip-hop !
Over his career Rex Omar has evolved the genre, pushing boundaries and dazzling listeners. A definitive piece of his repertoire comes via his Dangerous album: while it was self- produced and recorded in London circa 1997, upon CD release it saw success mainly within his homeland of Ghana. An irresistible blend of street-soul-come-highlife, with elements of bouncing 90s RnB/hip-hop, it was developed with help from Ibibio Sound Machine’s Kari Bannerman and prolific Jamaican producer Bill Campbell. From this album rising London producer and DJ Aroop Roy revisits the four-to-the-floor excursion ‘Dada’, repurposing for today’s dancefloor with the addition of fizzing synth chords and stabs.
While Omar regularly raps on his earlier works, on ‘Kele Ngele’ (taken from his 2004 album Ajala) we hear a yearning melodic vocal over a more laid back RnB beat. This rounds out the new Rex Omar EP for the discerning listener to experience the full breadth of his inventive output. More
Over his career Rex Omar has evolved the genre, pushing boundaries and dazzling listeners. A definitive piece of his repertoire comes via his Dangerous album: while it was self- produced and recorded in London circa 1997, upon CD release it saw success mainly within his homeland of Ghana. An irresistible blend of street-soul-come-highlife, with elements of bouncing 90s RnB/hip-hop, it was developed with help from Ibibio Sound Machine’s Kari Bannerman and prolific Jamaican producer Bill Campbell. From this album rising London producer and DJ Aroop Roy revisits the four-to-the-floor excursion ‘Dada’, repurposing for today’s dancefloor with the addition of fizzing synth chords and stabs.
While Omar regularly raps on his earlier works, on ‘Kele Ngele’ (taken from his 2004 album Ajala) we hear a yearning melodic vocal over a more laid back RnB beat. This rounds out the new Rex Omar EP for the discerning listener to experience the full breadth of his inventive output. More
1
Circus Underwater - Big Buck Meets The Perpendicular Fish
2
Circus Underwater - Trees Walk
3
Circus Underwater - The Surface Of The Water
4
Circus Underwater - Rugaru By Itself
5
Circus Underwater - I Wash My Hair With Limes
6
Circus Underwater - She Dreams Of Golden Golves Dancing
7
Circus Underwater - ENtrance Of The Deacon
8
Circus Underwater - Weeping Of Electric Sheep
9
Circus Underwater - First Hump Of Stately Plump
10
Circus Underwater - Thunder Daughters Underwater
11
Circus Underwater - Requiem For The Glass Trapeze
12
Circus Underwater - Muddy Ghosts Running From Rain
13
Circus Underwater - Behind The Altar There Is A Carousel
Remastered release of Circus Underwater’s 1984 self titled outing, including unreleased tracks taken from the original ¼” tapes. Soundway presents Circus Underwater’s 1984 self-titled masterpiece. Remastered and extended to a double LP, thisdeluxe version includes six unreleased tracks unearthed fromthe original 1/4” tapes, and presented with an insert, includingnever-before-seen photos and the fascinating story behind the music.
Featuring artwork from Grateful Dead collaborator, DavidLundquist, the album encapsulates a unique moment intime. Echoing the story of a generation that grew up in the 50s and 60s where music was everything, two friends embarkon a journey of experimentation which begins in the beatnik suburbs of Washington DC and travels to the heart of hippieSan Francisco. The result is an opus that fearlessly blurs the boundaries of genres and embraces diverse influences. Elements of prog, rock, ambient and wave music culminatein an odyssey that seamlessly bridges the gap between thespaced-out creativity of the 70s and electronic music of today.
releases September 15, 2023
Original artwork by David Lundquist.
Mastering and lacquer cuts by Frank Merritt, The Carvery Studio, London.
Artwork restoration by Javi Bayo.
FOR FANS OF:
Jeff Majors, Song Of The Golden Lotus, Peter Westheimer, Workdub, Floating Points More
Featuring artwork from Grateful Dead collaborator, DavidLundquist, the album encapsulates a unique moment intime. Echoing the story of a generation that grew up in the 50s and 60s where music was everything, two friends embarkon a journey of experimentation which begins in the beatnik suburbs of Washington DC and travels to the heart of hippieSan Francisco. The result is an opus that fearlessly blurs the boundaries of genres and embraces diverse influences. Elements of prog, rock, ambient and wave music culminatein an odyssey that seamlessly bridges the gap between thespaced-out creativity of the 70s and electronic music of today.
releases September 15, 2023
Original artwork by David Lundquist.
Mastering and lacquer cuts by Frank Merritt, The Carvery Studio, London.
Artwork restoration by Javi Bayo.
FOR FANS OF:
Jeff Majors, Song Of The Golden Lotus, Peter Westheimer, Workdub, Floating Points More
1
Ayo Manuel - Song Of Love (Instrumental)
2
Ayo Manuel - Fun Time
3
Ayo Manuel - Don't Stop
4
Ayo Manuel - Sojourn (Ajo)
5
Ayo Manuel - Gboro Mi Ro
6
Ayo Manuel - Do Good
Soundway Records presents Ayo Manuel ‘1983-1990’, a collection of selected works by one of Nigeria’s DIY pioneers.
This mini compilation selects the stand out cuts from his two albums Love Candidate and Party Time, showcasing the evolution of Ayo’s music. Side A is led by Song Of Love (Instrumental) - mid-tempo, synth-heavy music toeing the line between lo-fi crunch and sophisticated charm. This is followed closely by afro-disco melters Don’t Stop and the aptly titled Fun Time. Both with strong American, disco-funk leanings but full of Nigerian flavour, they come signed, sealed and delivered for any discerning dancefloor.
Sojourn (Ajo) lights up side-B, a coming-of-age journey that sets the tone for the rest of the album. With slick US production, but with its feet firmly planted in Yoruba culture, we find a more developed artist combining talking drums with distinct ’90s production, that deliver a unique blend of afro-pop. Gboro Mi Ro echoes the influence of Nigeria’s biggest musical export, Fela Kuti, but still retains its own particular character. Do Good follows in the footsteps of its predecessors but with added drama and depth. More
This mini compilation selects the stand out cuts from his two albums Love Candidate and Party Time, showcasing the evolution of Ayo’s music. Side A is led by Song Of Love (Instrumental) - mid-tempo, synth-heavy music toeing the line between lo-fi crunch and sophisticated charm. This is followed closely by afro-disco melters Don’t Stop and the aptly titled Fun Time. Both with strong American, disco-funk leanings but full of Nigerian flavour, they come signed, sealed and delivered for any discerning dancefloor.
Sojourn (Ajo) lights up side-B, a coming-of-age journey that sets the tone for the rest of the album. With slick US production, but with its feet firmly planted in Yoruba culture, we find a more developed artist combining talking drums with distinct ’90s production, that deliver a unique blend of afro-pop. Gboro Mi Ro echoes the influence of Nigeria’s biggest musical export, Fela Kuti, but still retains its own particular character. Do Good follows in the footsteps of its predecessors but with added drama and depth. More
1
Ondatrópica - Tiene Sabor, Tiene Sazon
2
Ondatrópica - Punkero Sonidero
3
Ondatrópica - Li´bya
4
Ondatrópica - Suena
5
Ondatrópica - Locomotora Borracha
6
Ondatrópica - Remando
7
Ondatrópica - Ska Fuentes
8
Ondatrópica - 3 Reyes De La Terapia
9
Ondatrópica - Gaita Tropica
10
Ondatrópica - I Ron Man
11
Ondatrópica - Dos Lucecitas
12
Ondatrópica - Cumbia Especial
13
Ondatrópica - Swing De Gillian
14
Ondatrópica - Bomba Tropica
15
Ondatrópica - Linda Mañana
16
Ondatrópica - El Caiman Y El Gallinazo
17
Ondatrópica - Mambo Loco Especial
18
Ondatrópica - Papi Shingaling
19
Ondatrópica - Mi Negra
20
Ondatrópica - Traigan La Batea
21
Ondatrópica - Donde Suena El Bombo
22
Ondatrópica - Curro Fuentes
23
Ondatrópica - Descarga Tropica
24
Ondatrópica - Cien Años
25
Ondatrópica - Rap Maya
26
Ondatrópica - Pig Bag
27
Ondatrópica - Homenaje A Landero
2023 Repress!
Conceived by Colombian musician Mario Galeano, the force behind the band Frente Cumbiero, and English producer Will ‘Quantic’ Holland, Ondatrópica brings together an all-star cast representing both the classic and modern styles of la musica Colombiana.
Over 3 weeks in January 2012 at the famous Discos Fuentes studios in Medellín legendary figures from Colombian music joined a group of younger Colombian musicians that included members of both Mario’s band Frente Cumbeiro and Quantic’s Combo Barbaro. The plan; “to re-interpret the tropical musical heritage of Colombia with new approaches in composition, arrangement and production in a classic and mythical setting.”
For the recording Will and Mario invited musicians that they felt had made a particularly important contribution to the history of tropical music in Colombia. Michi Sarmiento, crowned the Godfather of Ondatrópica during the recording process, sounds as at home playing on the drunken Black Sabbath cover ‘I Ron Man’ as he does on 'El Caiman y Gallenazo', a song penned by his father.
Multi-instrumentalist Fruko, the prodigy of the Fuentes Studio and one of the top progressive minds of the 70s got so involved that he joined the project for much longer than originally planned, and even ended up preparing desserts and fruit salads for the large group of musicians that had been assembled in the studio.
The Barranquilla-based accordion-playing don and singer Anibal Velasquez also joined the recording for two days. Another of the 42 musicians involved was octogenarian pianist Juancho Vargas who came straight from hospital to the studio to record ‘Cumbia Espacial’.
A mixture of well known and classic Colombian styles such as cumbia, porro, gaita and champeta clash head-on with boogaloo, ska, beat-box, hip hop, dub and funk. The tracks range from straight-up timeless pieces with one foot in the 1960s and 70s to progressive and forward-looking recordings firmly rooted in the 21st century. Mario and Will also adopted a 100% analogue recording approach in tribute to a sound and feel that the studio had been lacking for some years now.
Chilean MC Ana Tijoux takes the microphone for ‘Suena’, the melody line an ode to the major-key sound of 60s Sabanero cumbias. El Chongo, a young percussionist and beatboxer from the Caribbean city of Cartagena features on ‘Rap Maya’, a sound-clash with 82-year old gaita player Pedro Ramaya.
Soundway’s exploration into Colombian music began in 2007 with it’s much acclaimed compilation ‘Colombia! The Golden Age of Discos Fuentes The Powerhouse of Colombian Music 1960-76’. That compilation features many original works from the above-mentioned artists as well as some of the main session men of the day that also played on this new record. It's fitting then that Ondatrópica came together in the legendary Discos Fuentes studios in Medellín. More
Conceived by Colombian musician Mario Galeano, the force behind the band Frente Cumbiero, and English producer Will ‘Quantic’ Holland, Ondatrópica brings together an all-star cast representing both the classic and modern styles of la musica Colombiana.
Over 3 weeks in January 2012 at the famous Discos Fuentes studios in Medellín legendary figures from Colombian music joined a group of younger Colombian musicians that included members of both Mario’s band Frente Cumbeiro and Quantic’s Combo Barbaro. The plan; “to re-interpret the tropical musical heritage of Colombia with new approaches in composition, arrangement and production in a classic and mythical setting.”
For the recording Will and Mario invited musicians that they felt had made a particularly important contribution to the history of tropical music in Colombia. Michi Sarmiento, crowned the Godfather of Ondatrópica during the recording process, sounds as at home playing on the drunken Black Sabbath cover ‘I Ron Man’ as he does on 'El Caiman y Gallenazo', a song penned by his father.
Multi-instrumentalist Fruko, the prodigy of the Fuentes Studio and one of the top progressive minds of the 70s got so involved that he joined the project for much longer than originally planned, and even ended up preparing desserts and fruit salads for the large group of musicians that had been assembled in the studio.
The Barranquilla-based accordion-playing don and singer Anibal Velasquez also joined the recording for two days. Another of the 42 musicians involved was octogenarian pianist Juancho Vargas who came straight from hospital to the studio to record ‘Cumbia Espacial’.
A mixture of well known and classic Colombian styles such as cumbia, porro, gaita and champeta clash head-on with boogaloo, ska, beat-box, hip hop, dub and funk. The tracks range from straight-up timeless pieces with one foot in the 1960s and 70s to progressive and forward-looking recordings firmly rooted in the 21st century. Mario and Will also adopted a 100% analogue recording approach in tribute to a sound and feel that the studio had been lacking for some years now.
Chilean MC Ana Tijoux takes the microphone for ‘Suena’, the melody line an ode to the major-key sound of 60s Sabanero cumbias. El Chongo, a young percussionist and beatboxer from the Caribbean city of Cartagena features on ‘Rap Maya’, a sound-clash with 82-year old gaita player Pedro Ramaya.
Soundway’s exploration into Colombian music began in 2007 with it’s much acclaimed compilation ‘Colombia! The Golden Age of Discos Fuentes The Powerhouse of Colombian Music 1960-76’. That compilation features many original works from the above-mentioned artists as well as some of the main session men of the day that also played on this new record. It's fitting then that Ondatrópica came together in the legendary Discos Fuentes studios in Medellín. More
1
Felbm - Cycli Infini
2
Felbm - Cycli Infini
Tracklist:
A: Cycli Infini
B: Cycli Infini
Dutch multi-instrumentalist Felbm returns with the conceptual album ‘cycli infini’ : a 38-minute composition of metamorphosing tape loops, musical patterns and instrumental sketches. Further exploring the concept is the vinyl release which features the track spread over both sides and cut to the end of each locked groove - creating an essentially never-ending piece that challenges the idea of the traditional listening process.
The idea came to fruition by way of a lifelong interest and growing awareness of the cyclical nature of the world around him - be it through observing nature, or the mathematical and mind-bending works of Dutch artist MC Escher, or minimalist composers such as Erik Satie, Laraaji and Melaine Dalibert. “The openness of Laraaji’s and Satie’s music have also been an influence to create a certain softness and feeling of comfort, as I like this piece to be a place you want to revisit”, says Felbm, real name Eelco Topper.
While Topper’s previous releases on Soundway Records comprised series of short, individual sketches, on cycli infini the tapestry is sewn seamlessly together using a step-like progression through the circle of fifths, which as the name suggests, brings the listener back to the musical key and soundscape at which they started. Should the full track be on repeat, it begins anew without being noticed.
The piece began life with a layer of drone loops using tapes and delay pedals, over which acoustic instruments such as flute, saxophone and bass trumpet would playfully but gently interpret a melody - toying with jazz, ambient, fourth world and percussive sounds. As the music evolves through the key progression, organic elements such as birdsong and wind chimes ground the piece in nature. Says Topper: “the never-ending metamorphosis of matter has always fascinated me, the idea that nothing ever really disappears and everything has already been here… just in different shapes.”
For Fans of:
Laraaji, Basil Kirchin, Gaussian Curve, Young Marco, Greg Foat, Bibio, KPM library records More
A: Cycli Infini
B: Cycli Infini
Dutch multi-instrumentalist Felbm returns with the conceptual album ‘cycli infini’ : a 38-minute composition of metamorphosing tape loops, musical patterns and instrumental sketches. Further exploring the concept is the vinyl release which features the track spread over both sides and cut to the end of each locked groove - creating an essentially never-ending piece that challenges the idea of the traditional listening process.
The idea came to fruition by way of a lifelong interest and growing awareness of the cyclical nature of the world around him - be it through observing nature, or the mathematical and mind-bending works of Dutch artist MC Escher, or minimalist composers such as Erik Satie, Laraaji and Melaine Dalibert. “The openness of Laraaji’s and Satie’s music have also been an influence to create a certain softness and feeling of comfort, as I like this piece to be a place you want to revisit”, says Felbm, real name Eelco Topper.
While Topper’s previous releases on Soundway Records comprised series of short, individual sketches, on cycli infini the tapestry is sewn seamlessly together using a step-like progression through the circle of fifths, which as the name suggests, brings the listener back to the musical key and soundscape at which they started. Should the full track be on repeat, it begins anew without being noticed.
The piece began life with a layer of drone loops using tapes and delay pedals, over which acoustic instruments such as flute, saxophone and bass trumpet would playfully but gently interpret a melody - toying with jazz, ambient, fourth world and percussive sounds. As the music evolves through the key progression, organic elements such as birdsong and wind chimes ground the piece in nature. Says Topper: “the never-ending metamorphosis of matter has always fascinated me, the idea that nothing ever really disappears and everything has already been here… just in different shapes.”
For Fans of:
Laraaji, Basil Kirchin, Gaussian Curve, Young Marco, Greg Foat, Bibio, KPM library records More
1
Yoruba Singers - Ojinga's Own
2
Yoruba Singers - What To Do
3
Yoruba Singers - Stay Away
4
Yoruba Singers - Uncomprehensidensible Radio-Matic Woman
5
Yoruba Singers - Neighbour Jean
6
Yoruba Singers - G.o.-Go
7
Yoruba Singers - Massacura Man
8
Yoruba Singers - Woman A Dead Ya Fuh Man
9
Yoruba Singers - Ka Duma
10
Yoruba Singers - I've Got To Be Somebody
11
Yoruba Singers - No Intention
Tracklist:
Sida A
1. Ojinga’s Own
2. What To Do
3. Stay Away
4. Uncomprehensidensible
Radio-Matic Woman
5. Neighbour Jean
6. G.o.-Go
SIDE B
1. Massacura Man
2. Woman A Dead Ya Fuh Man
3. Ka Duma
4. I’ve Got To Be Somebody
5. No Intention
The 1974 debut album Ojinga’s Own and single Basa Bongo/Black Pepper by Guyanese Afro-Folk band The Yoruba Singers has been remastered for vinyl and digital.
The Yoruba Singers formed in Georgetown, Guyana in 1971. Despite their name they were not from Nigeria, but identified strongly with the area from which so many of the African diaspora in Guyana and neighbouring regions were originally descended.
The group started adapting Guyanese traditional folk music as well as writing their own - blending a mixture of protest, social commentary, blues, and genres inspired by the times. Beginning with about 12 people sharing vocal duties, most of the early repertoire was inspired by folk songs that started life on plantations or in religious settings accompanied by a few sparse musical instruments.
Integral to the Yoruba Singers’ sound are echoes of Obeah traditions which are very closely related to the Santería religion of Cuba and the Orisha and Shango traditions of Trinidad and Tobago. Calypso and steel-band culture from nearby Trinidad and Tobago was to some extent part of the musical DNA of the group, but they were naturally also influenced by the massive volume of rocksteady and roots-reggae coming from Jamaica.
For Fans Of:
Sir Victor Uwaifo, Francis Bebey, Fela Kuti More
Sida A
1. Ojinga’s Own
2. What To Do
3. Stay Away
4. Uncomprehensidensible
Radio-Matic Woman
5. Neighbour Jean
6. G.o.-Go
SIDE B
1. Massacura Man
2. Woman A Dead Ya Fuh Man
3. Ka Duma
4. I’ve Got To Be Somebody
5. No Intention
The 1974 debut album Ojinga’s Own and single Basa Bongo/Black Pepper by Guyanese Afro-Folk band The Yoruba Singers has been remastered for vinyl and digital.
The Yoruba Singers formed in Georgetown, Guyana in 1971. Despite their name they were not from Nigeria, but identified strongly with the area from which so many of the African diaspora in Guyana and neighbouring regions were originally descended.
The group started adapting Guyanese traditional folk music as well as writing their own - blending a mixture of protest, social commentary, blues, and genres inspired by the times. Beginning with about 12 people sharing vocal duties, most of the early repertoire was inspired by folk songs that started life on plantations or in religious settings accompanied by a few sparse musical instruments.
Integral to the Yoruba Singers’ sound are echoes of Obeah traditions which are very closely related to the Santería religion of Cuba and the Orisha and Shango traditions of Trinidad and Tobago. Calypso and steel-band culture from nearby Trinidad and Tobago was to some extent part of the musical DNA of the group, but they were naturally also influenced by the massive volume of rocksteady and roots-reggae coming from Jamaica.
For Fans Of:
Sir Victor Uwaifo, Francis Bebey, Fela Kuti More
1
Yoruba Singers - Basa Bongo
2
Yoruba Singers - Black Pepper
Tracklist:
A: Basa Bongo
B: Black Pepper
Guyana folk music reinterpreted and infused with Afro-roots and culture, reissued on vinyl for the first time.
A year after their debut album ‘Ojinga’s Own’, the Yoruba Singers from Guyana released the singles ‘Black Pepper’ and ‘Basa Bongo’. These two songs were recorded in Barbados and released on the Green Shrimp label and became extremely popular throughout the Caribbean and South America. The music also became an integral part of the very beginnings of what was later to become the Champeta Criolla sound in the Caribbean coast of Colombia.
For Fans Of:
Sir Victor Uwaifo, Francis Bebey, Fela Kuti More
A: Basa Bongo
B: Black Pepper
Guyana folk music reinterpreted and infused with Afro-roots and culture, reissued on vinyl for the first time.
A year after their debut album ‘Ojinga’s Own’, the Yoruba Singers from Guyana released the singles ‘Black Pepper’ and ‘Basa Bongo’. These two songs were recorded in Barbados and released on the Green Shrimp label and became extremely popular throughout the Caribbean and South America. The music also became an integral part of the very beginnings of what was later to become the Champeta Criolla sound in the Caribbean coast of Colombia.
For Fans Of:
Sir Victor Uwaifo, Francis Bebey, Fela Kuti More
Customers who bought this also bought this
1
Nucleus - Song For The Bearded Lady (7:22)
2
Nucleus - Sun Child (5:16)
3
Nucleus - Lullaby For A Lonely Child (4:21)
4
Nucleus - We’ll Talk About It Later (6:13)
5
Nucleus - Oasis (9:44)
6
Nucleus - Ballad Of Joe Pimp (3:45)
7
Nucleus - Easter 1916 (8:49)
Format Notes: 2023 reissue, 140g vinyl, remastered from the original Vertigo Master Tapes for this edition by Simon Francis, original gatefold die-cut sleeve replicated in fine detail
Territories: Worldwide no restrictions
Track List:
A1 : Song For The Bearded Lady (7:22)
A2 : Sun Child (5:16)
A3 : Lullaby For A Lonely Child (4:21)
A4 : We’ll Talk About It Later (6:13)
--
B1 : Oasis (9:44)
B2 : Ballad Of Joe Pimp (3:45)
B3 : Easter 1916 (8:49)
Release Notes:
Their masterpiece? With breaks for dayyyyyys and an almost ambient, heavy jazz atmosphere throughout, *this* is the apex of British jazz-rock fusion. We'll Talk About It Later was first released on Vertigo in 1971 and original copies are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.
We'll Talk About It Later is arguably Nucleus's best album. Not only that, it's in the top 5 of all fusion albums. By the time Nucleus entered Trident Studios in September 1970 to record Elastic Rock's successor, they had already won a best group award at the Montreux Jazz Festival. Once again presented in a Roger Dean designed die-cut gatefold sleeve it continued to demonstrate the chemistry and interplay that worked so brilliantly on Elastic Rock; Carr's sumptuous trumpet and flügelhorn lines, Karl Jenkins's funk-filled electric keyboards, Chris Spedding's wah-wah guitar, Brian Smith's sax and the rhythmic foundation of drummer John Marshall and bassist Jeff Clyne.
The group work and insane musicianship Nucleus were famed for is in evidence from the off. The intensely funky "Song for the Bearded Lady" is absolute FIRE, blasting out the speakers to leave listeners floored. Counterpoint riffing segues into a spacious groove and a Carr trumpet solo demonstrating the influence of electric Miles from the period. The stop-start funk of "Sun Child" would appeal to Soft Machine devotees whilst the genuinely touching "Lullaby for a Lonely Child" is a lovely downtempo ballad. Featuring an understated, reflective horn line from Carr and Smith and atmospheric, shimmering bouzouki from Spedding, there's an exotic flavour which contributes to the bliss. The ominous, sleazy title track retains a swaggering menace and is not the only track to lend a sort of heavy stoner rock atmosphere. The guitars and bass are deep and low throughout, conjuring heavy psych moments to go with the actual jazz and even funk. To say this album was in conversation with Bitches Brew would not be overstating the sheer brain-frying brilliance.
The Weather Report-adjacent "Oasis" opens Side B, a colossal track featuring nearly 10 minutes of steadily building melodic horns, keys and choppy guitar riffs. So ace, it could easily go on for another 10. Mesmeric. Spedding adds unique vocals to the undeniable groove of "Ballad of Joe Pimp" whilst saxophonist Smith's duet with drummer Marshall at the conclusion of "Easter 1916" - inspired by the Yeats poem about the Irish nationalist uprising in Dublin - adopts the wildness of the most incendiary free jazz.
This Be With edition of We'll Talk About It Later has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning die-cut sleeve has been restored with the original gatefold window pane depicting the Irish uprising in 1916. Incredible, timeless, guaranteed spine-chills.
More
Territories: Worldwide no restrictions
Track List:
A1 : Song For The Bearded Lady (7:22)
A2 : Sun Child (5:16)
A3 : Lullaby For A Lonely Child (4:21)
A4 : We’ll Talk About It Later (6:13)
--
B1 : Oasis (9:44)
B2 : Ballad Of Joe Pimp (3:45)
B3 : Easter 1916 (8:49)
Release Notes:
Their masterpiece? With breaks for dayyyyyys and an almost ambient, heavy jazz atmosphere throughout, *this* is the apex of British jazz-rock fusion. We'll Talk About It Later was first released on Vertigo in 1971 and original copies are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.
We'll Talk About It Later is arguably Nucleus's best album. Not only that, it's in the top 5 of all fusion albums. By the time Nucleus entered Trident Studios in September 1970 to record Elastic Rock's successor, they had already won a best group award at the Montreux Jazz Festival. Once again presented in a Roger Dean designed die-cut gatefold sleeve it continued to demonstrate the chemistry and interplay that worked so brilliantly on Elastic Rock; Carr's sumptuous trumpet and flügelhorn lines, Karl Jenkins's funk-filled electric keyboards, Chris Spedding's wah-wah guitar, Brian Smith's sax and the rhythmic foundation of drummer John Marshall and bassist Jeff Clyne.
The group work and insane musicianship Nucleus were famed for is in evidence from the off. The intensely funky "Song for the Bearded Lady" is absolute FIRE, blasting out the speakers to leave listeners floored. Counterpoint riffing segues into a spacious groove and a Carr trumpet solo demonstrating the influence of electric Miles from the period. The stop-start funk of "Sun Child" would appeal to Soft Machine devotees whilst the genuinely touching "Lullaby for a Lonely Child" is a lovely downtempo ballad. Featuring an understated, reflective horn line from Carr and Smith and atmospheric, shimmering bouzouki from Spedding, there's an exotic flavour which contributes to the bliss. The ominous, sleazy title track retains a swaggering menace and is not the only track to lend a sort of heavy stoner rock atmosphere. The guitars and bass are deep and low throughout, conjuring heavy psych moments to go with the actual jazz and even funk. To say this album was in conversation with Bitches Brew would not be overstating the sheer brain-frying brilliance.
The Weather Report-adjacent "Oasis" opens Side B, a colossal track featuring nearly 10 minutes of steadily building melodic horns, keys and choppy guitar riffs. So ace, it could easily go on for another 10. Mesmeric. Spedding adds unique vocals to the undeniable groove of "Ballad of Joe Pimp" whilst saxophonist Smith's duet with drummer Marshall at the conclusion of "Easter 1916" - inspired by the Yeats poem about the Irish nationalist uprising in Dublin - adopts the wildness of the most incendiary free jazz.
This Be With edition of We'll Talk About It Later has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning die-cut sleeve has been restored with the original gatefold window pane depicting the Irish uprising in 1916. Incredible, timeless, guaranteed spine-chills.
More
Label:Lilith Records Ltd.
Cat-No:999051LPP
Release-Date:24.02.2023
Genre:Indie Rock/Alternative
Configuration:LP
Label:Lilith Records Ltd.
Cat-No:999051LPP
Release-Date:24.02.2023
Genre:Indie Rock/Alternative
Configuration:LP
1
Velvet Underground - Sunday Morning
2
Velvet Underground - I'm Waiting For My Man
3
Velvet Underground - Femme Fatale
4
Velvet Underground - Venus In Furs
5
Velvet Underground - Run Run Run
6
Velvet Underground - All Tomorrow's Parties
7
Velvet Underground - I'll Be Your Mirror
8
Velvet Underground - Heroin
9
Velvet Underground - There She Goes Again
10
Velvet Underground - The Black Ange's Death Song
11
Velvet Underground - European Son
12
Velvet Underground - Chelsea Girls
Repress.
The Velvets legendary debut album with the Warhol's Banana cover art printed on vinyl. Although Warhol, who was listed as producer on the album, allegedly gave the Velvets free reign over their sound, it was on his insistence that Nico performed on this album. However, this does not detract from the fact that when this album was made the Red Sea parted, and the Velvet Underground crossed into the Promised Land. 180 gram picture disc LP in deluxe sleeve, with 2 bonus tracks. More
The Velvets legendary debut album with the Warhol's Banana cover art printed on vinyl. Although Warhol, who was listed as producer on the album, allegedly gave the Velvets free reign over their sound, it was on his insistence that Nico performed on this album. However, this does not detract from the fact that when this album was made the Red Sea parted, and the Velvet Underground crossed into the Promised Land. 180 gram picture disc LP in deluxe sleeve, with 2 bonus tracks. More
1
Nucleus - 1916 (1:11)
2
Nucleus - Elastic Rock (4:05)
3
Nucleus - Striation (2:14)
4
Nucleus - Taranaki (1:38)
5
Nucleus - Twisted Track (5:19)
6
Nucleus - Crude Blues (Part 1) (0:54)
7
Nucleus - Crude Blues (Part 2) (2:38)
8
Nucleus - 1916 (The Battle Of Boogaloo) (2:58)
9
Nucleus - Torrid Zone (8:41)
10
Nucleus - Stonescape (2:39)
11
Nucleus - Earth Mother (5:15)
12
Nucleus - Speaking For Myself, Personally, In My Own Opinion, I Think… (1:31)
13
Nucleus - Persephone’s Jive (2:14)
Format Notes: 2023 reissue, 140g vinyl, remastered from the original Vertigo Master Tapes for this edition by Simon Francis, original gatefold die-cut sleeve replicated in fine detail
Territories: Worldwide no restrictions
Track List:
A1 : 1916 (1:11)
A2 : Elastic Rock (4:05)
A3 : Striation (2:14)
A4 : Taranaki (1:38)
A5 : Twisted Track (5:19)
A6 : Crude Blues (Part 1) (0:54)
A7 : Crude Blues (Part 2) (2:38)
A8 : 1916 (The Battle Of Boogaloo) (2:58)
--
B1 : Torrid Zone (8:41)
B2 : Stonescape (2:39)
B3 : Earth Mother (5:15)
B4 : Speaking For Myself, Personally, In My Own Opinion, I Think… (1:31)
B5 : Persephone’s Jive (2:14)
Release Notes:
Nucleus's Elastic Rock is undisputedly a milestone in Jazz-Rock. A beautiful and vital debut album, it was first released on Vertigo in 1970. Original copies are now very tricky to score and, like all the Nucleus records, it’s aged ridiculously well. This Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.
The very title Elastic Rock could be regarded as the group's MO, describing a melting point between their rock and jazz impulses. Indeed, housed in a memorable gatefold jacket designed by Roger Dean, the die cut molten teardrop shape on the front sleeve opens to reveal a fiery volcanic crater. On the back, Dean's drawing has Carr with saxophonist Brian Smith, guitarist Chris Spedding, drummer John Marshall, bassist Jeff Clyne and sax, oboe and pianist Karl Jenkins in a circle, the central core of a movement and the basis for its activity.
Recorded over four days in January 1970, Elastic Rock didn't sound like any other British jazz album. Exploding out the gate, "1916" opens with Marshall's frantic pounding before melancholic horns enter. The smooth title track, "Elastic Rock" is just a gorgeous electric blues track. Light drums, gentle melodic horns, piano and a solid bassline serve as the perfect bed for Spedding's graceful bluesy guitar melodies. The serene "Striation", a Clyne and Spedding collaboration, is led by bowed bass and is the epitome of calm before the late night laid back vibe of "Taranaki" breezes along sweetly and smoothly with great trumpet and tenor.
The truly emotional "Twisted Track" is elegant with horns, while guitar is gently played with drums and bass. Initially deeply soothing, it gradually builds with various solos and duets. "Crude Blues (Part 1)" features an excellent oboe part by Jenkins with laconic guitar helping out. "Part 2" is livelier, with a heavy backbeat and great wind parts. "1916 (Battle Of Boogaloo)" features a steady bassline and great call and response parts from the horn section.
The highly-charged centrepiece of the record, the mesmeric epic "Torrid Zone" features an hypnotic bassline and hi-hat with some of the ensemble's best soloing. Brilliantly encapsulating the jazz fusion aesthetic so desired by the group, the rhythm section is rock-influenced but magically retains a laid-back jazz vibe. Just perfection. Spacey jazz in the style of In a Silent Way, the semi-ambient "Stonescape" features smooth, muted brass, warm, smokey keys and a barely-there rhythm section. Heavenly.
The bubbling, fragile restraint of "Earth Mother" partially utilises the "Torrid Zone" bassline but takes the energy in a different direction with Marshall's frenetic drumming and Spedding's unpredictable riffing. Next comes the very idiosyncratic drum solo track by Marshall in the appropriately-titled "Speaking for Myself, Personally, in My Own Opinion, I Think." The album closes with the raucous "Persephones Jive", a track that ends the album frantically, riotously, just as it began.
This Be With edition of Elastic Rock has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning die-cut gatefold sleeve has been restored in all its molten glory.
More
Territories: Worldwide no restrictions
Track List:
A1 : 1916 (1:11)
A2 : Elastic Rock (4:05)
A3 : Striation (2:14)
A4 : Taranaki (1:38)
A5 : Twisted Track (5:19)
A6 : Crude Blues (Part 1) (0:54)
A7 : Crude Blues (Part 2) (2:38)
A8 : 1916 (The Battle Of Boogaloo) (2:58)
--
B1 : Torrid Zone (8:41)
B2 : Stonescape (2:39)
B3 : Earth Mother (5:15)
B4 : Speaking For Myself, Personally, In My Own Opinion, I Think… (1:31)
B5 : Persephone’s Jive (2:14)
Release Notes:
Nucleus's Elastic Rock is undisputedly a milestone in Jazz-Rock. A beautiful and vital debut album, it was first released on Vertigo in 1970. Original copies are now very tricky to score and, like all the Nucleus records, it’s aged ridiculously well. This Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.
The very title Elastic Rock could be regarded as the group's MO, describing a melting point between their rock and jazz impulses. Indeed, housed in a memorable gatefold jacket designed by Roger Dean, the die cut molten teardrop shape on the front sleeve opens to reveal a fiery volcanic crater. On the back, Dean's drawing has Carr with saxophonist Brian Smith, guitarist Chris Spedding, drummer John Marshall, bassist Jeff Clyne and sax, oboe and pianist Karl Jenkins in a circle, the central core of a movement and the basis for its activity.
Recorded over four days in January 1970, Elastic Rock didn't sound like any other British jazz album. Exploding out the gate, "1916" opens with Marshall's frantic pounding before melancholic horns enter. The smooth title track, "Elastic Rock" is just a gorgeous electric blues track. Light drums, gentle melodic horns, piano and a solid bassline serve as the perfect bed for Spedding's graceful bluesy guitar melodies. The serene "Striation", a Clyne and Spedding collaboration, is led by bowed bass and is the epitome of calm before the late night laid back vibe of "Taranaki" breezes along sweetly and smoothly with great trumpet and tenor.
The truly emotional "Twisted Track" is elegant with horns, while guitar is gently played with drums and bass. Initially deeply soothing, it gradually builds with various solos and duets. "Crude Blues (Part 1)" features an excellent oboe part by Jenkins with laconic guitar helping out. "Part 2" is livelier, with a heavy backbeat and great wind parts. "1916 (Battle Of Boogaloo)" features a steady bassline and great call and response parts from the horn section.
The highly-charged centrepiece of the record, the mesmeric epic "Torrid Zone" features an hypnotic bassline and hi-hat with some of the ensemble's best soloing. Brilliantly encapsulating the jazz fusion aesthetic so desired by the group, the rhythm section is rock-influenced but magically retains a laid-back jazz vibe. Just perfection. Spacey jazz in the style of In a Silent Way, the semi-ambient "Stonescape" features smooth, muted brass, warm, smokey keys and a barely-there rhythm section. Heavenly.
The bubbling, fragile restraint of "Earth Mother" partially utilises the "Torrid Zone" bassline but takes the energy in a different direction with Marshall's frenetic drumming and Spedding's unpredictable riffing. Next comes the very idiosyncratic drum solo track by Marshall in the appropriately-titled "Speaking for Myself, Personally, in My Own Opinion, I Think." The album closes with the raucous "Persephones Jive", a track that ends the album frantically, riotously, just as it began.
This Be With edition of Elastic Rock has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning die-cut gatefold sleeve has been restored in all its molten glory.
More
1
Nucleus - Elements I & II (2:28)
2
Nucleus - Changing Times (4:44)
3
Nucleus - Bedrock Deadlock (6:52)
4
Nucleus - Spirit Level (9:20)
5
Nucleus - Torso (6:12)
6
Nucleus - Snakehips’ Dream (15:28)
Format Notes: 2023 reissue, 140g vinyl, remastered from the original Vertigo Master Tapes for this edition by Simon Francis, original gatefold sleeve replicated in fine detail
Territories: Worldwide no restrictions
Track List:
A1 : Elements I & II (2:28)
A2 : Changing Times (4:44)
A3 : Bedrock Deadlock (6:52)
A4 : Spirit Level (9:20)
--
B1 : Torso (6:12)
B2 : Snakehips’ Dream (15:28)
Release Notes:
What a record! The outstanding Solar Plexus, the much-loved third album from Ian Carr and Nucleus, was first released on Vertigo in 1971. Inevitably, original copies are now very tricky to score and, like all the Nucleus records, it’s aged ridiculously well. This Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.
We'll let Ian describe this one: "I wrote Solar Plexus' last year with the help of an Arts Council grant. It is based on two short themes which are stated at the beginning (Elements I & I1). The first theme is angular and has a slow, crab-like movement: the second theme is direct, simple and diatonic. CHANGING TIME and SPIRIT LEVEL explore the first theme and BEDROCK DEADLOCK and TORSO explore the second one. SNAKEHIPS DREAM tries to fuse both themes. (The title is a reference to the famous dancer 'Snakehips' Johnson)."
Solar Plexus features the same lineup as Elastic Rock and We'll Talk About It Later, but they're augmented by six guests, three of which play brass. Carr himself had almost full control of the writing and it does feel very different to the previous albums. It's more of a jazz record loosely based on a rock foundation rather than jazz fusion jamming.
The haunting synth-and-bass soundscape "Elements I and II" opens the album in dramatic, experimental fashion. It gives way to the bright, funky feel-good jazz of "Changing Times". An elegant onslaught of horns, courtesy of guests Kenny Wheeler and Harry Beckett, ride a solid groove for the duration. How the brass refrains have eluded samplers is beyond us. The melancholic "Bedrock Deadlock" features the brooding majesty of Jenkins' oboe and Clyne's mournful, skittering double bass. Wah wah guitar, drums and funky percussion then take over before the horns ride us out over frenetic beats. The dark, angular "Spirit Level" is a real highlight, by turns harmonic and beautiful then dissonant and wayward. Wonky jazz with no apparent structure or melodic bones. Regardless, it represents a great showcase for each virtuoso performer.
The breezy soul of "Torso" feels like a breath of fresh air, skipping along in the uptempo style with guitar, horns, drums and bass. A track which truly sounds scintillating, featuring sax solos, fantastic propulsive interplay from all the group around the halfway stage before Marshall gets his chance to really shine in closing out with a polyrhythmic drum solo. Final track "Snakehips' Dream" stretches cooly out over 15 minutes to round out a spellbinding album. An epic, suave groove, it's a relaxing piece with warm electric keys, laconic guitar and languorous horns. Truly sophisticated soulful jazz. An absolute masterclass. We could easily listen to this all day long.
This Be With edition of Solar Plexus has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning gatefold sleeve has been restored to complete this sensational package. More
Territories: Worldwide no restrictions
Track List:
A1 : Elements I & II (2:28)
A2 : Changing Times (4:44)
A3 : Bedrock Deadlock (6:52)
A4 : Spirit Level (9:20)
--
B1 : Torso (6:12)
B2 : Snakehips’ Dream (15:28)
Release Notes:
What a record! The outstanding Solar Plexus, the much-loved third album from Ian Carr and Nucleus, was first released on Vertigo in 1971. Inevitably, original copies are now very tricky to score and, like all the Nucleus records, it’s aged ridiculously well. This Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.
We'll let Ian describe this one: "I wrote Solar Plexus' last year with the help of an Arts Council grant. It is based on two short themes which are stated at the beginning (Elements I & I1). The first theme is angular and has a slow, crab-like movement: the second theme is direct, simple and diatonic. CHANGING TIME and SPIRIT LEVEL explore the first theme and BEDROCK DEADLOCK and TORSO explore the second one. SNAKEHIPS DREAM tries to fuse both themes. (The title is a reference to the famous dancer 'Snakehips' Johnson)."
Solar Plexus features the same lineup as Elastic Rock and We'll Talk About It Later, but they're augmented by six guests, three of which play brass. Carr himself had almost full control of the writing and it does feel very different to the previous albums. It's more of a jazz record loosely based on a rock foundation rather than jazz fusion jamming.
The haunting synth-and-bass soundscape "Elements I and II" opens the album in dramatic, experimental fashion. It gives way to the bright, funky feel-good jazz of "Changing Times". An elegant onslaught of horns, courtesy of guests Kenny Wheeler and Harry Beckett, ride a solid groove for the duration. How the brass refrains have eluded samplers is beyond us. The melancholic "Bedrock Deadlock" features the brooding majesty of Jenkins' oboe and Clyne's mournful, skittering double bass. Wah wah guitar, drums and funky percussion then take over before the horns ride us out over frenetic beats. The dark, angular "Spirit Level" is a real highlight, by turns harmonic and beautiful then dissonant and wayward. Wonky jazz with no apparent structure or melodic bones. Regardless, it represents a great showcase for each virtuoso performer.
The breezy soul of "Torso" feels like a breath of fresh air, skipping along in the uptempo style with guitar, horns, drums and bass. A track which truly sounds scintillating, featuring sax solos, fantastic propulsive interplay from all the group around the halfway stage before Marshall gets his chance to really shine in closing out with a polyrhythmic drum solo. Final track "Snakehips' Dream" stretches cooly out over 15 minutes to round out a spellbinding album. An epic, suave groove, it's a relaxing piece with warm electric keys, laconic guitar and languorous horns. Truly sophisticated soulful jazz. An absolute masterclass. We could easily listen to this all day long.
This Be With edition of Solar Plexus has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning gatefold sleeve has been restored to complete this sensational package. More
1
Minas - Num Dia Azul (In A Blue City)
2
Minas - Sinal Verde (Green Light)
3
Minas - So Danço Samba (I Only Dance the Samba)
4
Minas - Calma Mulher (Cool It Woman)
5
Minas - Canção Da Chuva (Song of the Rain)
6
Minas - Samba Walk
7
Minas - Choro Sambaião
Minas 'Num Dia Azul' is a sublime slice of private press bossa nova meets jazzy MPB perfection. Warm and bubbling with youthful spirit, the music is simultaneously loose in swagger, yet slick and tight. The album was originally released in 1983 and reflects the great music coming out of Rio at the time, yet 'Num Dia Azul' wasn't recorded in Rio, but actually in the USA.
Recorded in North Carolina just after Patricia and Orlando Haddad had graduated from the North Carolina School of the Arts, the record was only released for the Brazilian market on their own Blueazul Records imprint. As with most private press labels, they could only afford to have it pressed in small quantities. To add to its later obscurity, hundreds of copies were also destroyed in a house fire. They say cream always rises to the top, and fast forward to the 2010s, the word amongst collectors and DJs was spreading about this mythical under-the-radar recording. People from across the globe were contacting Patricia and Orlando for more information, hoping to secure themselves a copy. Luckily the original tapes had remained with the artists and were in great condition, so in 2016 the pair ran a successful Kickstarter campaign to have it remastered and repressed.
For this Mr Bongo 2023 re-issue, we have tried to keep it as close to the original 1983 version as possible, both in the packaging and audio presentation. The CD version comes with bonus tracks. We are super proud to keep Patricia and Orlando's serene recordings in the circulation that they deserve to be. One for fans of Brazilian artists such as Burnier & Cartier, Edu Lobo and Joyce. We are sure those fans will lose themselves in the alluring textures of 'Num Dia Azul'. More
Recorded in North Carolina just after Patricia and Orlando Haddad had graduated from the North Carolina School of the Arts, the record was only released for the Brazilian market on their own Blueazul Records imprint. As with most private press labels, they could only afford to have it pressed in small quantities. To add to its later obscurity, hundreds of copies were also destroyed in a house fire. They say cream always rises to the top, and fast forward to the 2010s, the word amongst collectors and DJs was spreading about this mythical under-the-radar recording. People from across the globe were contacting Patricia and Orlando for more information, hoping to secure themselves a copy. Luckily the original tapes had remained with the artists and were in great condition, so in 2016 the pair ran a successful Kickstarter campaign to have it remastered and repressed.
For this Mr Bongo 2023 re-issue, we have tried to keep it as close to the original 1983 version as possible, both in the packaging and audio presentation. The CD version comes with bonus tracks. We are super proud to keep Patricia and Orlando's serene recordings in the circulation that they deserve to be. One for fans of Brazilian artists such as Burnier & Cartier, Edu Lobo and Joyce. We are sure those fans will lose themselves in the alluring textures of 'Num Dia Azul'. More
1
Joy Division - Love Will Tear Us Apart (original version)
2
Joy Division - Transmission
3
Joy Division - Love Will Tear Us Apart" (radio version)
4
Joy Division - These Days
5
Joy Division - Atmosphere (Hannett)
6
Joy Division - Love Will Tear Us Apart (Arthur Baker remix)
This volume "French Rare Groove", offers us a one-way ticket to France from the late 60's to the early 80's. From confidential releases to forgotten movie soundtracks, discover the grooviest tracks from the french scene. Have a good trip!
Tracklist:
1. Jean-Jacques Perrey - E.V.A.
2. Janko Nilovic - Drug Song
3. Vladimir Cosma - Exkalibur (O.S.T. "Sam Et Sally")
4. Michel Magne & David Gilmour - I Must Tell You Why (O.S
5. Syntaxe - L'Anthropofemme (Chanson)
6. Philippe Sarde - L'Appartement (O.S.T. "Deux Hommes Dan
7. Paul Martin & Jean-Pierre Castaldi - Le Troublant Témoi
8. Bernard Lloret - Digen
9. Jacques Arconte - Movie Town
10. Cliff Cardwin - Work City
11. Janko Nilovic - Soul Impressions
12. Jean-Claude Pierric - Move man
13. dition Spéciale - Monsieur Business
14. Jean-Claude Petit - Skyway
15. Christian Chevalier - Tecumseh
16. Francis Lai - Somewhere In The Night (O.S.T. "Madly")
17. Eden Rose - Reinyet Number
18. Karl-Heinz Schäfer - Kidnapping (O.S.T. "Les Gants Blan
19. Bruno Leys - Dans La Galaxie
20. Francis Lai - Young Freedom
21. Daniel Janin & Jean Luc Ferré - Dig Yourself Up
22. Le Patchwork - Patchwork
23. Roger Renaud - Turn Me On More
Tracklist:
1. Jean-Jacques Perrey - E.V.A.
2. Janko Nilovic - Drug Song
3. Vladimir Cosma - Exkalibur (O.S.T. "Sam Et Sally")
4. Michel Magne & David Gilmour - I Must Tell You Why (O.S
5. Syntaxe - L'Anthropofemme (Chanson)
6. Philippe Sarde - L'Appartement (O.S.T. "Deux Hommes Dan
7. Paul Martin & Jean-Pierre Castaldi - Le Troublant Témoi
8. Bernard Lloret - Digen
9. Jacques Arconte - Movie Town
10. Cliff Cardwin - Work City
11. Janko Nilovic - Soul Impressions
12. Jean-Claude Pierric - Move man
13. dition Spéciale - Monsieur Business
14. Jean-Claude Petit - Skyway
15. Christian Chevalier - Tecumseh
16. Francis Lai - Somewhere In The Night (O.S.T. "Madly")
17. Eden Rose - Reinyet Number
18. Karl-Heinz Schäfer - Kidnapping (O.S.T. "Les Gants Blan
19. Bruno Leys - Dans La Galaxie
20. Francis Lai - Young Freedom
21. Daniel Janin & Jean Luc Ferré - Dig Yourself Up
22. Le Patchwork - Patchwork
23. Roger Renaud - Turn Me On More
1
Nucleus - Rat’s Bag (5:49)
2
Nucleus - Alive & Kicking (9:24)
3
Nucleus - Rachel’s Tune (6:58)
4
Nucleus - Snakehips Etcetera (10:23)
5
Nucleus - Pussyfoot (3:59)
6
Nucleus - Heyday (7:43)
Format Notes: 2023 reissue, 140g vinyl, remastered from the original Vertigo Master Tapes for this edition by Simon Francis, original sleeve replicated in fine detail
Territories: Worldwide no restrictions
Track List:
A1 : Rat’s Bag (5:49)
A2 : Alive & Kicking (9:24)
A3 : Rachel’s Tune (6:58)
--
B1 : Snakehips Etcetera (10:23)
B2 : Pussyfoot (3:59)
B3 : Heyday (7:43)
Release Notes:
The distinctive rolling grooves, growling basslines and blasting horns of Snakehips Etcetera combined to present Nucleus's most energetic record. First released on Vertigo in 1975, original copies of Snakehips Etcetera are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”
With all restraint out the window, 1975's pimped-up Snakehips Etcetera is the outrageous - in both cover art and sound - follow-up to the brooding Under The Sun. It's perhaps not one for the jazz purists! It finds Nucleus pared down to a core group of six, with Carr, Bob Bertles (sax), Ken Shaw (guitar), Geoff Castle (keys), Roger Sutton (bass) and Roger Sellers (drums) comprising the collective. Snakehips Etcetera reflects a period where the compositions start to become a little more direct and less-cerebral in comparison to some of Nucleus' previous releases. And why would we begrudge them some fun? This one rocks, swings and funks with no little soul. And more than a little jazzy sleaze. Clearly, they were having a good time.
The album has a real live, jamming feel to it, no surprise given the extent to which they were touring at the time. The band is tight and grooving throughout, none more so than on Bob Bertles's effervescent opener, "Rat’s Bag". So darn funky it stings, it's an infectious gem full of punchy clean lines over a killer bassline from Sutton. The thick, driving jazz-rock of "Alive And Kicking" is exactly that. It has a very improvisational feel, but an inspired one at that and features a wailing guitar solo from Ken Shaw that simply slays. The funky "Rachel’s Tune" is amazing, bringing you back to Canterbury days with its fuzzed-out organ solos to close out Side A.
Opening up Side B, the cool psychedelic title track unfolds slowly and sensually over its ten-plus minutes. A stoned soul stew of sorts, each member of the crew gets their chance to shine over Sellers's steady drums. The melodic funk fusion of "Pussyfoot" pairs Carr with Bertles on ace solo flute for a bright, springy melody. This one really gleams over shuffling drums. Changing the pace to close out this memorable set, the particularly cool "Heyday" is a reflective, sober tune which reinforces the sumptuous Nucleus palette, the acoustic guitar and bass high in the mix to make the neck snap, the horns elegantly blasting to help you swoon.
This Be With edition of Snakehips Etcetera has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The striking, lascivious sleeve has been restored in all its seductive/ridiculous beauty. More
Territories: Worldwide no restrictions
Track List:
A1 : Rat’s Bag (5:49)
A2 : Alive & Kicking (9:24)
A3 : Rachel’s Tune (6:58)
--
B1 : Snakehips Etcetera (10:23)
B2 : Pussyfoot (3:59)
B3 : Heyday (7:43)
Release Notes:
The distinctive rolling grooves, growling basslines and blasting horns of Snakehips Etcetera combined to present Nucleus's most energetic record. First released on Vertigo in 1975, original copies of Snakehips Etcetera are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”
With all restraint out the window, 1975's pimped-up Snakehips Etcetera is the outrageous - in both cover art and sound - follow-up to the brooding Under The Sun. It's perhaps not one for the jazz purists! It finds Nucleus pared down to a core group of six, with Carr, Bob Bertles (sax), Ken Shaw (guitar), Geoff Castle (keys), Roger Sutton (bass) and Roger Sellers (drums) comprising the collective. Snakehips Etcetera reflects a period where the compositions start to become a little more direct and less-cerebral in comparison to some of Nucleus' previous releases. And why would we begrudge them some fun? This one rocks, swings and funks with no little soul. And more than a little jazzy sleaze. Clearly, they were having a good time.
The album has a real live, jamming feel to it, no surprise given the extent to which they were touring at the time. The band is tight and grooving throughout, none more so than on Bob Bertles's effervescent opener, "Rat’s Bag". So darn funky it stings, it's an infectious gem full of punchy clean lines over a killer bassline from Sutton. The thick, driving jazz-rock of "Alive And Kicking" is exactly that. It has a very improvisational feel, but an inspired one at that and features a wailing guitar solo from Ken Shaw that simply slays. The funky "Rachel’s Tune" is amazing, bringing you back to Canterbury days with its fuzzed-out organ solos to close out Side A.
Opening up Side B, the cool psychedelic title track unfolds slowly and sensually over its ten-plus minutes. A stoned soul stew of sorts, each member of the crew gets their chance to shine over Sellers's steady drums. The melodic funk fusion of "Pussyfoot" pairs Carr with Bertles on ace solo flute for a bright, springy melody. This one really gleams over shuffling drums. Changing the pace to close out this memorable set, the particularly cool "Heyday" is a reflective, sober tune which reinforces the sumptuous Nucleus palette, the acoustic guitar and bass high in the mix to make the neck snap, the horns elegantly blasting to help you swoon.
This Be With edition of Snakehips Etcetera has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The striking, lascivious sleeve has been restored in all its seductive/ridiculous beauty. More
1
Kimiko Kasai With Herbie Hancock - No Title
2
Kimiko Kasai With Herbie Hancock - No Title
3
Kimiko Kasai With Herbie Hancock - No Title
4
Kimiko Kasai With Herbie Hancock - No Title
5
Kimiko Kasai With Herbie Hancock - No Title
6
Kimiko Kasai With Herbie Hancock - No Title
7
Kimiko Kasai With Herbie Hancock - No Title
8
Kimiko Kasai With Herbie Hancock - No Title
Territories: World ex Japan
More
1
Ebo Taylor And The Pelikans - Enye Nyame Nko
2
Ebo Taylor And The Pelikans - Gyae Su Na Nkomo
3
Ebo Taylor And The Pelikans - Reality
4
Ebo Taylor And The Pelikans - Egya Edu
5
Ebo Taylor And The Pelikans - Mber No Aso
6
Ebo Taylor And The Pelikans - Come Along
7
Ebo Taylor And The Pelikans - If You Care
A Ghanaian funk LP from the afrofunk master. one of Ebo Taylor's rarest and most sought-after!
Ebo Taylor and The Pelikans is being reissued on vinyl by Comet Records, pressed on high quality vinyl, with label designs
and artwork as per the original release.
Originally released by Ghanian Abookyi label in 1976, Ebo Taylor and The Pelikans is one of Taylor’s most elusive releases,
and marked the first time he sang on the seminal Ghana Funk anthem “Come Along”.
The album saw the legendary musician, producer, composer and arranger joining forces with 12-piece Cape Coast Ghanian
band ‘The Pelikans’ led by Bessa Simmona with rhythm guitarist Fifi Orleans Lindsay.
Put simply, there has never been a musician and artist quite like Ebo Taylor. As an artist, arranger, musician and producer
he’s a combination of James Brown, Nile Rodgers and Quincy Jones: He not only created some of the greatest funk songs
ever recorded but as much if not more than that, his genius as an arranger gave the signature sound to high life and afrobeat
that was made famous by his one-time London roommate (from when they were both music students, in The early 1960s)
Fela. And his funky guitar brought a percussive sound to the rhythm section that didn't exist before.
TRACKLIST:
A Side
A1. Enye Nyame Nko
A2. Gyae Su Na Nkomo
A3. Reality
B Side
B1. Egya Edu
B2. Mber No Aso
B3. Come Along
B4. If You Care More
Ebo Taylor and The Pelikans is being reissued on vinyl by Comet Records, pressed on high quality vinyl, with label designs
and artwork as per the original release.
Originally released by Ghanian Abookyi label in 1976, Ebo Taylor and The Pelikans is one of Taylor’s most elusive releases,
and marked the first time he sang on the seminal Ghana Funk anthem “Come Along”.
The album saw the legendary musician, producer, composer and arranger joining forces with 12-piece Cape Coast Ghanian
band ‘The Pelikans’ led by Bessa Simmona with rhythm guitarist Fifi Orleans Lindsay.
Put simply, there has never been a musician and artist quite like Ebo Taylor. As an artist, arranger, musician and producer
he’s a combination of James Brown, Nile Rodgers and Quincy Jones: He not only created some of the greatest funk songs
ever recorded but as much if not more than that, his genius as an arranger gave the signature sound to high life and afrobeat
that was made famous by his one-time London roommate (from when they were both music students, in The early 1960s)
Fela. And his funky guitar brought a percussive sound to the rhythm section that didn't exist before.
TRACKLIST:
A Side
A1. Enye Nyame Nko
A2. Gyae Su Na Nkomo
A3. Reality
B Side
B1. Egya Edu
B2. Mber No Aso
B3. Come Along
B4. If You Care More
1
Nucleus - In Procession (2:52)
2
Nucleus - The Addison Trip (3:53)
3
Nucleus - Pastoral Graffiti (3:28)
4
Nucleus - New Life (7:01)
5
Nucleus - A Taste Of Sarsaparilla (0:40)
6
Nucleus - Theme 1 - Sarsaparilla (6:45)
7
Nucleus - Theme 2 - Feast Alfresco (5:56)
8
Nucleus - Theme 3 - Rites Of Man (9:58)
Format Notes: 2022 re-issue, 140g vinyl, remastered from the original tapes
Territories: Worldwide no restrictions
Track List:
A1 : In Procession (2:52)
A2 : The Addison Trip (3:53)
A3 : Pastoral Graffiti (3:28)
A4 : New Life (7:01)
A5 : A Taste Of Sarsaparilla (0:40)
B1 : Theme 1 - Sarsaparilla (6:45)
B2 : Theme 2 - Feast Alfresco (5:56)
B3 : Theme 3 - Rites Of Man (9:58)
Release Notes:
Under The Sun is the follow-up to the astonishing Roots and contains yet more absolutely essential Nucleus material. Originally released on Vertigo in 1974, Under The Sun was never re-pressed and of course those original copies are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has stayed relevant. To steal a line from a recent review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.
Under The Sun opens with the crisp, medium tempo “In Procession”. It’s a typically inventive Carr track with layers of dramatic, riff-led themes and repeating brass blasts. Bryan Spring’s “The Addison Trip” is a moody funk piece, with Kieran White guesting on wordless vocals. Roger Sutton contributes some fine bass guitar on this track, particularly the great solo at around the two minute mark. The excellently-named cool, jazzy ballad “Pastoral Graffiti” paints bucolic pictures with its mellow sonics, plaintive horns and Bob Bertles’ flute.
Sutton’s superb, bass-driven “New Life” brings a different dynamic. Horns, guitar and electric piano swirl over the head-nod bass motif and a killer Ken Shaw guitar solo. A false fade out halfway through brings in a new bass riff that’s picked up by the whole ensemble as Carr wah-wah noodles over the top. It’s full-on. The gorgeous, laidback “A Taste of Sarsaparilla” is exactly that - closing out the first side with a cute blast of what is to come over on the killer flip.
The whole of Under The Sun’s second side is a suite of three “Themes” written by Ian Carr. The uptempo first theme “Sarsaparilla” is comfortably one of Nucleus’ best. What would’ve been a cluttered mess in the hands of most is instead an effortless lesson in clarity and zing. Between Geoff Castle’s electric piano solo, the relentless funky drumming and more wild wah-wah trumpet from Carr, Nucleus show you how it’s done.
The languid groove of second theme “Feast Alfresco” is much more typical of “classic” Nucleus and sounds like something that might’ve been on Roots. A Bertles baritone solo and a guitar solo from Shaw weave around the core, serpentine brass theme.
The darker “Rites of Man”, the third and final theme, is a slow build to a solid bass and electric piano riff, shored up by some tricky brass. Carr takes the theme even further and there’s still plenty of room for soloing from all corners of the Nucleus. As usual, the dynamic Sutton/Spring, bass/drums duo is holding down the rhythm for the rest to jam around.
This Be With edition of Under The Sun has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. The bleak, rain-dappled cover matches the melancholic vibe of the record and has been restored as the finishing touch to this long overdue re-issue.
More
Territories: Worldwide no restrictions
Track List:
A1 : In Procession (2:52)
A2 : The Addison Trip (3:53)
A3 : Pastoral Graffiti (3:28)
A4 : New Life (7:01)
A5 : A Taste Of Sarsaparilla (0:40)
B1 : Theme 1 - Sarsaparilla (6:45)
B2 : Theme 2 - Feast Alfresco (5:56)
B3 : Theme 3 - Rites Of Man (9:58)
Release Notes:
Under The Sun is the follow-up to the astonishing Roots and contains yet more absolutely essential Nucleus material. Originally released on Vertigo in 1974, Under The Sun was never re-pressed and of course those original copies are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has stayed relevant. To steal a line from a recent review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.
Under The Sun opens with the crisp, medium tempo “In Procession”. It’s a typically inventive Carr track with layers of dramatic, riff-led themes and repeating brass blasts. Bryan Spring’s “The Addison Trip” is a moody funk piece, with Kieran White guesting on wordless vocals. Roger Sutton contributes some fine bass guitar on this track, particularly the great solo at around the two minute mark. The excellently-named cool, jazzy ballad “Pastoral Graffiti” paints bucolic pictures with its mellow sonics, plaintive horns and Bob Bertles’ flute.
Sutton’s superb, bass-driven “New Life” brings a different dynamic. Horns, guitar and electric piano swirl over the head-nod bass motif and a killer Ken Shaw guitar solo. A false fade out halfway through brings in a new bass riff that’s picked up by the whole ensemble as Carr wah-wah noodles over the top. It’s full-on. The gorgeous, laidback “A Taste of Sarsaparilla” is exactly that - closing out the first side with a cute blast of what is to come over on the killer flip.
The whole of Under The Sun’s second side is a suite of three “Themes” written by Ian Carr. The uptempo first theme “Sarsaparilla” is comfortably one of Nucleus’ best. What would’ve been a cluttered mess in the hands of most is instead an effortless lesson in clarity and zing. Between Geoff Castle’s electric piano solo, the relentless funky drumming and more wild wah-wah trumpet from Carr, Nucleus show you how it’s done.
The languid groove of second theme “Feast Alfresco” is much more typical of “classic” Nucleus and sounds like something that might’ve been on Roots. A Bertles baritone solo and a guitar solo from Shaw weave around the core, serpentine brass theme.
The darker “Rites of Man”, the third and final theme, is a slow build to a solid bass and electric piano riff, shored up by some tricky brass. Carr takes the theme even further and there’s still plenty of room for soloing from all corners of the Nucleus. As usual, the dynamic Sutton/Spring, bass/drums duo is holding down the rhythm for the rest to jam around.
This Be With edition of Under The Sun has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. The bleak, rain-dappled cover matches the melancholic vibe of the record and has been restored as the finishing touch to this long overdue re-issue.
More
1
Guilherme Coutinho E O Grupo Stalo - Atalaia
2
Guilherme Coutinho E O Grupo Stalo - As Feras
3
Guilherme Coutinho E O Grupo Stalo - Foicera
4
Guilherme Coutinho E O Grupo Stalo - Rio Corrente
5
Guilherme Coutinho E O Grupo Stalo - Macareu
6
Guilherme Coutinho E O Grupo Stalo - Fuga
7
Guilherme Coutinho E O Grupo Stalo - Flauta De Bambu
8
Guilherme Coutinho E O Grupo Stalo - Tema Pro Alvarito
Tracklist:
1. Atalaia
2. As Feras
3. Foicera
4. Rio Corrente
5. Macareu
6. Fuga
7. Flauta De Bambu
8. Tema Pro Alvarito
We are proud to present the Mr Bongo pressing of Guilherme Coutinho E O Grupo Stalo's self-titled mythical album. Blending lo-fi, Brazilian tropicalia, jazz, funk and MPB with a unique aroma, this record is pure perfection.
It was originally released in 1978 on Erla - Estudio Rauland, an obscure record label from Belém in Brazil, that only released 7” singles, with this album being one of two exceptions. During the 1970s, Belém had a thriving nightclub scene, but it is thousands of miles away from the music industry hubs of Rio de Janeiro and São Paulo, making this record insanely difficult to find, even in Brazil. Added to the scarcity factor is the magical nature of the recording, which has naturally resulted in a hefty price tag to match. Original copies have become a prized, collector’s item.
The elusive Brazilian band leader and keyboard player, Guilherme Coutinho is a true cult artist. He passed away in 1983, at the age of just 41, and during his career he only seems to have appeared on a handful of marvellous records, which makes them all the more special. This album feels individualistic and distinctive from other albums of the day. Listening back to vocalist Elinho’s (aka Hélio Rubens de Oliveira) delivery, it sounds not too dissimilar to some of Belle & Sebastian’s songs. ‘Guilherme Coutinho E O Grupo Stalo’ is rich in charm, quirky and playful. It feels cinematic, soothing and benefits from being heard in its entirety. A proper album experience. More
1. Atalaia
2. As Feras
3. Foicera
4. Rio Corrente
5. Macareu
6. Fuga
7. Flauta De Bambu
8. Tema Pro Alvarito
We are proud to present the Mr Bongo pressing of Guilherme Coutinho E O Grupo Stalo's self-titled mythical album. Blending lo-fi, Brazilian tropicalia, jazz, funk and MPB with a unique aroma, this record is pure perfection.
It was originally released in 1978 on Erla - Estudio Rauland, an obscure record label from Belém in Brazil, that only released 7” singles, with this album being one of two exceptions. During the 1970s, Belém had a thriving nightclub scene, but it is thousands of miles away from the music industry hubs of Rio de Janeiro and São Paulo, making this record insanely difficult to find, even in Brazil. Added to the scarcity factor is the magical nature of the recording, which has naturally resulted in a hefty price tag to match. Original copies have become a prized, collector’s item.
The elusive Brazilian band leader and keyboard player, Guilherme Coutinho is a true cult artist. He passed away in 1983, at the age of just 41, and during his career he only seems to have appeared on a handful of marvellous records, which makes them all the more special. This album feels individualistic and distinctive from other albums of the day. Listening back to vocalist Elinho’s (aka Hélio Rubens de Oliveira) delivery, it sounds not too dissimilar to some of Belle & Sebastian’s songs. ‘Guilherme Coutinho E O Grupo Stalo’ is rich in charm, quirky and playful. It feels cinematic, soothing and benefits from being heard in its entirety. A proper album experience. More