1
Saac Cool Cat Mofokeng - Candy
2
Mr. Ace - Ace 1
3
Linda - I Won't Let You Go
4
Jappie Lebona - My Love Is Yours
5
The Hard Workers - Axe Chop
6
Thandi - Istant Love Eyami Lendoda
Selection of all winners from the Music Team label - mid 80s to early 90s gems on here!
One of South Africa’s biggest independent labels for more than a decade, Music Team offered working musicians a shot at fame via access to top studios, producers, songwriters and session musicians, as well as distribution via a number of imprints: CTV, Red Label, Solid, Spinna, Mambo Music and others. Artists in the stable who tasted success would typically release a few albums over as many years before moving on to other labels or falling off the radar as times changed. At their peak, according to label boss Maurice Horwitz, Music Team was selling a million records a month, and was at the forefront of South African pop music as it evolved from soul to disco and beyond.
Afrosynth Records’ ‘Music Team Sampler’ dusts off six rare and long-forgotten gems from the Music Team catalogue, originally released between 1986 and 1992. Four are typical of the label’s take on the popular ‘bubblegum’ sound of the day — Isaac ‘Cool Cat’ Mofokeng’s ‘Candy’, ‘I Won’t Let You Go’ by Linda Oliphant, Jappie Lebona’s ‘My Love is Yours and ‘Instant Love (Eyami Lendoda)’ by Thandi Zulu (aka TZ Junior). Two instrumentals — Mr. Ace’s ‘Ace 1’ and ‘Axe Chop’ by The Hard Workers, a studio project by Music Team’s in-house producer Tom Mkhize — meanwhile hint at the imminent rise of kwaito and house.
Forged in the fire of a cruel and volatile political system that was gradually unraveling, instead of addressing political realities these indelible pop songs sought to provide an escape to a world where love and music were all that mattered. More
One of South Africa’s biggest independent labels for more than a decade, Music Team offered working musicians a shot at fame via access to top studios, producers, songwriters and session musicians, as well as distribution via a number of imprints: CTV, Red Label, Solid, Spinna, Mambo Music and others. Artists in the stable who tasted success would typically release a few albums over as many years before moving on to other labels or falling off the radar as times changed. At their peak, according to label boss Maurice Horwitz, Music Team was selling a million records a month, and was at the forefront of South African pop music as it evolved from soul to disco and beyond.
Afrosynth Records’ ‘Music Team Sampler’ dusts off six rare and long-forgotten gems from the Music Team catalogue, originally released between 1986 and 1992. Four are typical of the label’s take on the popular ‘bubblegum’ sound of the day — Isaac ‘Cool Cat’ Mofokeng’s ‘Candy’, ‘I Won’t Let You Go’ by Linda Oliphant, Jappie Lebona’s ‘My Love is Yours and ‘Instant Love (Eyami Lendoda)’ by Thandi Zulu (aka TZ Junior). Two instrumentals — Mr. Ace’s ‘Ace 1’ and ‘Axe Chop’ by The Hard Workers, a studio project by Music Team’s in-house producer Tom Mkhize — meanwhile hint at the imminent rise of kwaito and house.
Forged in the fire of a cruel and volatile political system that was gradually unraveling, instead of addressing political realities these indelible pop songs sought to provide an escape to a world where love and music were all that mattered. More
More records from Afrosynth
1
Ntombi Ndaba - Tomorrow
2
Ntombi Ndaba - Heart Attack
3
Ntombi Ndaba - I've Got A Friend
4
Ntombi Ndaba - Is This Love
5
Ntombi Ndaba - In My Mind
6
Ntombi Ndaba - Mina Ngilijaji
*2024 repress*
Incl. her in demand tune "Tomorrow" . Six-track anthology of South African singer Ntombi Ndaba, featuring 2 songs from 3 of her solo albums, Mina Ngiljaji (1988), Mama Nature (1989) and Why Me (1991).
Ntombi Ndaba first rose to fame in 1985 with Ntombi & Survival, becoming one of the most popular singers of the bubblegum era. After setting up the independent label Anneko with her producer A.T. ‘Rubber’ Khoza in 1988, she went solo. Following Khoza’s death in the early 1990s, Ndaba never recorded again. More
Incl. her in demand tune "Tomorrow" . Six-track anthology of South African singer Ntombi Ndaba, featuring 2 songs from 3 of her solo albums, Mina Ngiljaji (1988), Mama Nature (1989) and Why Me (1991).
Ntombi Ndaba first rose to fame in 1985 with Ntombi & Survival, becoming one of the most popular singers of the bubblegum era. After setting up the independent label Anneko with her producer A.T. ‘Rubber’ Khoza in 1988, she went solo. Following Khoza’s death in the early 1990s, Ndaba never recorded again. More
1
PT House - Big World
2
PT House - Qinisela
3
PT House - Rebatla Muzik
4
PT House - Unity
Originally released in 1991, PT House’s debut album ‘Big World’ signaled the arrival of a young Soweto rapper named Nelson Mohale (later better known as Dr House) on South Africa’s early house and kwaito scene. Teaming up with producer Danny Bridgens — an up-and-coming studio hand and session guitarist for the likes of Yvonne Chaka Chaka and Margino, also releasing as The Stone and Leroy Stone — the pair drew influence from US & UK hip-house contemporaries but were determined to give their sound a local flavour, as well as a positive vibe that looked forward to a brighter future. PT House’s four-track debut was a bold statement that still holds up today, reissued for the first time on Afrosynth Records.
More
1
Citi Express - It's Too Late
2
Citi Express - Love Is The Message
3
Citi Express - People Of The World
4
Citi Express - Victim Of Your Love
5
Citi Express - Living For The City
6
Citi Express - Open Invitation
Cover versions of international songs have long thrived in South Africa’s music industry. Often unable to license the original tracks (until the early 90s the result of an international boycott of the country) labels instead hired producers and session artists to re-record them for the local market. Early house music in SA was no different.
When Ron ‘Robot’ Friedman, former bass player for local rockers Rabbitt, was winding down his label On Records in the early 90s, he reached out for new inspiration as the popularity of ‘bubblegum’ disco waned. For one of the label’s final releases he hired young DJ/producer Quentin Foster, obsessed with the new soulful house sound coming out of the US, to take the reins on a studio project dubbed Citi Express.
On Robot’s insistence it included a cover of Stevie Wonder’s ‘Living for the City’ (from 1973’s Innervisions) as the title track. Foster set to work in his home studio, dubbed Tone Def, selecting and re-working other US and UK tracks — ‘It’s Too Late’ (originally released in 1989 by Kelli Sae), ‘Love is the Message’ (influenced by the 70s soul anthem and credited to Gamble & Huff but bearing a closer resemblance to Better Days’ 1990 release written by Steve Proctor), ‘People of The World’ (recorded by Sorell Johnson in the UK in 1990) and ‘Victim of Your Love’ (released in 1990 by Gary Vonqwest as ‘Victim of Love’) — adding some signature South African touches in the process that foreshadow the imminent rise of kwaito. One original composition was added for good measure, ‘Open Invitation’.
The result offers a glimpse into those early days of house, a uniquely South African take on a global sound that still resonates today — reissued for the first time on Afrosynth Records. More
When Ron ‘Robot’ Friedman, former bass player for local rockers Rabbitt, was winding down his label On Records in the early 90s, he reached out for new inspiration as the popularity of ‘bubblegum’ disco waned. For one of the label’s final releases he hired young DJ/producer Quentin Foster, obsessed with the new soulful house sound coming out of the US, to take the reins on a studio project dubbed Citi Express.
On Robot’s insistence it included a cover of Stevie Wonder’s ‘Living for the City’ (from 1973’s Innervisions) as the title track. Foster set to work in his home studio, dubbed Tone Def, selecting and re-working other US and UK tracks — ‘It’s Too Late’ (originally released in 1989 by Kelli Sae), ‘Love is the Message’ (influenced by the 70s soul anthem and credited to Gamble & Huff but bearing a closer resemblance to Better Days’ 1990 release written by Steve Proctor), ‘People of The World’ (recorded by Sorell Johnson in the UK in 1990) and ‘Victim of Your Love’ (released in 1990 by Gary Vonqwest as ‘Victim of Love’) — adding some signature South African touches in the process that foreshadow the imminent rise of kwaito. One original composition was added for good measure, ‘Open Invitation’.
The result offers a glimpse into those early days of house, a uniquely South African take on a global sound that still resonates today — reissued for the first time on Afrosynth Records. More
1
Starlight - Picnic
2
Starlight - Starlight
3
Starlight - Let's Go Dancing Boogie Boogie
4
Starlight - Jah Jah Love
5
Starlight - Picnicing
6
Starlight - Keep On Moving
South African production duo of Emil Zoghby and John Galanakis were responsible for a string of high-quality disco singles in the early 80s, typically cover versions of international hits — Klein & MBO’s ‘The Big Apple’, Sly & the Family Stone’s ‘Family Affair’ & David Joseph’s ‘You Can’t Hide (Your Love From Me)’ — backed with their own compositions. When Starlight hit the market with an album in 1983, it featured only one cover, the local hit ‘Picnic’, along with five of the duo’s original compositions, including their similarly styled response, ‘Picnicing’, which replaces the original’s sax with spaced-out synth stabs. Then there’s ‘Jah Jah Love’, an ecstatic disco sermon of dancefloor dynamite weighing in at over eight and a half minutes. Other tracks on this landmark album — ‘Let’s Go Dancing (Boogie Boogie)’, ‘Keep On Moving’ and an eponymous instrumental — offer a similar fusion of classic disco with newer Italo and proto-house influences: machine music with a human touch! Remastered from the original master tapes and reissued for the first time, Starlight will be available on vinyl and digital platforms from early 2023 (40 years after its initial release) via Afrosynth Records.
More
1
Ayanda Sikade - Mdantsane
2
Ayanda Sikade - Izzah
3
Ayanda Sikade - Space Ship
4
Ayanda Sikade - Amawethu
5
Ayanda Sikade - Imithandazo Yeengelosi
6
Ayanda Sikade - Nxarhuni River
7
Ayanda Sikade - Umakhulu
8
Ayanda Sikade - Enkumbeni
9
Ayanda Sikade - Gaba
Born in 1981 in Mdantsane in the Eastern Cape, Ayanda Sikade is one of South African jazz’s most in-demand and respected drummers, a familiar face on the scene for years and a driving force behind its growing prominence on the world stage.
Dedicated to his grandmother who raised him, Sikade’s long-awaited sophomore album as a bandleader, Umakhulu, follows his 2018 debut Movements. Recorded in Johannesburg in early 2021, it features the talents of frequent collaborator Nduduzo Makhathini on piano, young Simon Manana on alto sax and Nhlanhla Radebe on bass. The album’s nine tracks, composed and produced by Sikade, pay homage to the artist’s heritage — most noticeably on ‘Mdantsane’ and ‘Nxarhuni River’ — while forging onwards to a brave new world on others, like ‘Imithandazo Yeengelosi’ (Prayer of Angels) and ‘Space Ship’. More
Dedicated to his grandmother who raised him, Sikade’s long-awaited sophomore album as a bandleader, Umakhulu, follows his 2018 debut Movements. Recorded in Johannesburg in early 2021, it features the talents of frequent collaborator Nduduzo Makhathini on piano, young Simon Manana on alto sax and Nhlanhla Radebe on bass. The album’s nine tracks, composed and produced by Sikade, pay homage to the artist’s heritage — most noticeably on ‘Mdantsane’ and ‘Nxarhuni River’ — while forging onwards to a brave new world on others, like ‘Imithandazo Yeengelosi’ (Prayer of Angels) and ‘Space Ship’. More
1
Benjamin Jephta Quintet - Evolution, Pt. 2 (B. Jeptha)
2
Thandi Ntuli - Cosmic Light (T. Ntuli)
3
Mabuta - Slipstream (S. Cooper)
4
Kyle Shepherd Trio - Dream State (K. Shepherd)
5
Lwanda Gogwana - Maqundeni
6
Siya Makuzeni Sextet - Out Of This World (S. Makuzeni)
7
Bokani Dyer Trio - Fezile (B. Dyer)
8
Vuma Levin - Hashtag (V. Levin)
9
Reza Khota Quartet - Lost Is A Place (R. Khota)
10
Zoe Modiga - The Healer (Z. Modiga)
11
Mandisi Dyantyis - Kuse Kude (M. Dyantyis)
12
Yonela Mnana - Leagan (Y. Mnana) View
2022 repress
Here’s a record that’s been long overdue - Afrosynth’s ‘New Horizons’, a compilation of contemporary South-African jazz sounds - the very first of its kind.
South Africa’s jazz scene today is a vibrant one brimming with young talent. Several have emerged as bandleaders and composers, while at the same time being members of their contemporaries’ collectives - cross-pollinating each other’s music with various influences and pushing South Africa’s proud jazz heritage into the future.
From the trios of pianists Kyle Shepherd, Bokani Dyer and Yonela Mnana, to the genre-defying exploits of guitarists Vuma Levin and Reza Khota; and from artists inspired by age-old traditions, like Lwanda Gogwana and Mandisi Dyantyis, to the cosmic explorations of Siya Makuzeni, Benjamin Jephta, Thandi Ntuli, Zoë Modiga and Shane Cooper’s Mabuta - Johannesburg label Afrosynth Records’ this @LP compilation New Horizons highlights some of the country’s most talented young composers and bandleaders, as well as a wider cast of supporting musicians.
The current crop of jazz stylists under the spotlight are visionaries in their own right, exceptionally inventive figures who, while they enjoy the advantage and privilege of tapping into the rich musical heritage that preceded them, have brought to bear their creative impulses to collapse boundaries and push frontiers.
----------------------------------------------------------------------------------------------------------------------------
In case you’ve been living under a rock for much longer than COVID-19 has lasted so far: it’s an exciting time to be alive for jazz enthusiasts, with incredible streams of forward-thinking jazz emerging from all sorts of places, South-Africa being one of the most notable.
Compiled by Mabuta bass player and allround creative force Shane Cooper (check out Mabuta’s 2018 masterpiece ‘Welcome to this World’ if you haven’t already) and Afrosynth labelhead Okapi, ‘New Horizons’ (not to be confused with the recent Bristol jazz comp of the same name) offers a perfect glimpse into the thriving local scenes in all assorted flavors.
Kyle Shepherd’s beautifully striking first chords on opener ‘Evolution part 2’ by the Benjamin Jephta Quintet alone should be enough to warrant the purchase of this veritable treasure box - even before the mindblowing trumpet an sax kick in.
Shepherd’s inspired piano playing is also key on the soul-stirring ‘Dream State’, the kind of instant classic that makes you stop in your tracks immediately, regardless of what you’re doing. It’s followed by Lwanda Gogwana’s pleasantly upbeat ‘Maqundeni’ and the extraterrestrial spirit chasing of Siya Makuzeni’s haunting ‘Out of this World’.
Other highlights on this impeccable double album compilation include the contemporary postbop sounds of Bokani Dyer’s ‘Fezile’, Vuma Levin’s short and square ‘Hashtag’, The spaced-out jazz psychedelics of Reza Khota’s ‘Lost in a Place’ and Zoë Modiga’s afro-Brazilian flavored London jazz-inspired ‘The Healer’, but I assure you there are no weak moments to be found here. ‘New Horizons’ offers a unique window into a world that’s waiting to be discovered by all. (by Rogier Oostlander) More
Here’s a record that’s been long overdue - Afrosynth’s ‘New Horizons’, a compilation of contemporary South-African jazz sounds - the very first of its kind.
South Africa’s jazz scene today is a vibrant one brimming with young talent. Several have emerged as bandleaders and composers, while at the same time being members of their contemporaries’ collectives - cross-pollinating each other’s music with various influences and pushing South Africa’s proud jazz heritage into the future.
From the trios of pianists Kyle Shepherd, Bokani Dyer and Yonela Mnana, to the genre-defying exploits of guitarists Vuma Levin and Reza Khota; and from artists inspired by age-old traditions, like Lwanda Gogwana and Mandisi Dyantyis, to the cosmic explorations of Siya Makuzeni, Benjamin Jephta, Thandi Ntuli, Zoë Modiga and Shane Cooper’s Mabuta - Johannesburg label Afrosynth Records’ this @LP compilation New Horizons highlights some of the country’s most talented young composers and bandleaders, as well as a wider cast of supporting musicians.
The current crop of jazz stylists under the spotlight are visionaries in their own right, exceptionally inventive figures who, while they enjoy the advantage and privilege of tapping into the rich musical heritage that preceded them, have brought to bear their creative impulses to collapse boundaries and push frontiers.
----------------------------------------------------------------------------------------------------------------------------
In case you’ve been living under a rock for much longer than COVID-19 has lasted so far: it’s an exciting time to be alive for jazz enthusiasts, with incredible streams of forward-thinking jazz emerging from all sorts of places, South-Africa being one of the most notable.
Compiled by Mabuta bass player and allround creative force Shane Cooper (check out Mabuta’s 2018 masterpiece ‘Welcome to this World’ if you haven’t already) and Afrosynth labelhead Okapi, ‘New Horizons’ (not to be confused with the recent Bristol jazz comp of the same name) offers a perfect glimpse into the thriving local scenes in all assorted flavors.
Kyle Shepherd’s beautifully striking first chords on opener ‘Evolution part 2’ by the Benjamin Jephta Quintet alone should be enough to warrant the purchase of this veritable treasure box - even before the mindblowing trumpet an sax kick in.
Shepherd’s inspired piano playing is also key on the soul-stirring ‘Dream State’, the kind of instant classic that makes you stop in your tracks immediately, regardless of what you’re doing. It’s followed by Lwanda Gogwana’s pleasantly upbeat ‘Maqundeni’ and the extraterrestrial spirit chasing of Siya Makuzeni’s haunting ‘Out of this World’.
Other highlights on this impeccable double album compilation include the contemporary postbop sounds of Bokani Dyer’s ‘Fezile’, Vuma Levin’s short and square ‘Hashtag’, The spaced-out jazz psychedelics of Reza Khota’s ‘Lost in a Place’ and Zoë Modiga’s afro-Brazilian flavored London jazz-inspired ‘The Healer’, but I assure you there are no weak moments to be found here. ‘New Horizons’ offers a unique window into a world that’s waiting to be discovered by all. (by Rogier Oostlander) More
1
E&S Brothers - Mapantsula
2
E&S Brothers - Mhane
3
E&S Brothers - Taduma
4
E&S Brothers - Taxi Door
5
E&S Brothers - Sikele Masike
6
E&S Brothers - Be Careful
E & S Brothers’ 1985 album Taduma holds a unique yet overlooked place in the history of South African dance music. When Shadrack Ndlovu and Ernest Segeel teamed up with Dane Stevenson, owner of Blue Tree Studio in downtown Johannesburg, and journeyman producer Taso Stephanou, South Africa’s bubblegum era had just begun, spurred on by the success of Shangaan disco. The relative success of their debut 12” ‘Don’t Bang The Taxi Door’, marketed aggressively at taxi ranks throughout the country, helped put the Blue Tree label on the map and E & S were invited back to record a full album: Taduma, featuring on keyboards Dr Buke, an in-demand session player from Soweto.
Rooted in Africa, yet purely electronic, Taduma was a moderate hit, spurred by tracks like ‘Taxi Door’ and ‘Mhane’, its hypnotic refrain ‘Mhane, famba na wena’ meaning ‘Mother, I am going to you’. Other tracks like ‘Mapantsula’ and ‘Be Careful’ place Taduma within the street-savvy ‘pantsula’ style and dance synonymous with consecutive waves of music from disco to kwaito, house and beyond, while ‘Sikele Masike’ repurposes a traditional Shangaan work song. Vocally E & S are closer to rapping than singing, in a combination of English and vernacular – predating other credited pioneers of kwaito in SA like Senyaka and Spokes H. Driving the music instead of vocals are waves of searing synths over rudimentary but explosive drum machine sounds – the word ‘Taduma’ meaning the sound of the drum.
Remastered from the original tapes and reissued for the first time, Taduma will be available on vinyl and digital platforms from early 2022 via Afrosynth Records. More
Rooted in Africa, yet purely electronic, Taduma was a moderate hit, spurred by tracks like ‘Taxi Door’ and ‘Mhane’, its hypnotic refrain ‘Mhane, famba na wena’ meaning ‘Mother, I am going to you’. Other tracks like ‘Mapantsula’ and ‘Be Careful’ place Taduma within the street-savvy ‘pantsula’ style and dance synonymous with consecutive waves of music from disco to kwaito, house and beyond, while ‘Sikele Masike’ repurposes a traditional Shangaan work song. Vocally E & S are closer to rapping than singing, in a combination of English and vernacular – predating other credited pioneers of kwaito in SA like Senyaka and Spokes H. Driving the music instead of vocals are waves of searing synths over rudimentary but explosive drum machine sounds – the word ‘Taduma’ meaning the sound of the drum.
Remastered from the original tapes and reissued for the first time, Taduma will be available on vinyl and digital platforms from early 2022 via Afrosynth Records. More
1
Condry Ziqubu - Gorilla Man
2
Condry Ziqubu - Everybody Party
3
Condry Ziqubu - Confusion (Ma Afrika)
4
Condry Ziqubu - Phola Baby
Four tracks by one of the biggest names in South African disco: Condry Ziqubu. A regular on the local soul scene since the late 1960s in groups such as The Flaming Souls, The Anchors and The Flaming Ghettoes, by the mid-80s he had qualified as a sangoma (traditional healer), recorded with Harari (the biggest group in the country at the time), fronted his own group Lumumba, and travelled the world as part of Caiphus Semenya and Letta Mbulu’s band.
In 1986 he ditched Lumumba and released his first solo hit, ‘Gorilla Man’. Opening with an audacious 20-second intro, the song tells the story of a man preying on women in downtown Johannesburg. It highlights Condry’s winning formula of lyrics that touch on everyday South African issues and places (without drawing the attention of apartheid censors). Musically the song draws obvious influence from Piano Fantasia’s 1985 Euro-disco hit ‘Song for Denise’.
Also included on this new anthology is another song from the same album, the politically charged ‘Confusion (Ma Afrika)’, as well as ‘Phola Baby’ from his 1988 album Pick Six – a call to men to “stop pushing your woman around … what kind of man are you?” – and ‘Everybody Party’ from 1989’s Magic Man, a straight-up party song with no political or social intimations, other than as a brief escape from the harsh reality of the time, one that still resonates today. More
In 1986 he ditched Lumumba and released his first solo hit, ‘Gorilla Man’. Opening with an audacious 20-second intro, the song tells the story of a man preying on women in downtown Johannesburg. It highlights Condry’s winning formula of lyrics that touch on everyday South African issues and places (without drawing the attention of apartheid censors). Musically the song draws obvious influence from Piano Fantasia’s 1985 Euro-disco hit ‘Song for Denise’.
Also included on this new anthology is another song from the same album, the politically charged ‘Confusion (Ma Afrika)’, as well as ‘Phola Baby’ from his 1988 album Pick Six – a call to men to “stop pushing your woman around … what kind of man are you?” – and ‘Everybody Party’ from 1989’s Magic Man, a straight-up party song with no political or social intimations, other than as a brief escape from the harsh reality of the time, one that still resonates today. More
1
Thembelihle Dunjana - Pressin’ On
2
The SN Project - Afrikanization
3
Sisonke Xonti - Sinivile
4
Muhammad Dawjee Ft. Siphephelo Ndlovu - Otherness
5
Tefo Mahola - First Offering
6
Ayanda Sikade - Zimkhitha
7
Linda Sikhakhane - Inner Freedom
8
Sibusiso Mash Mashiloane - Ke Mashiloane
9
Marcus Wyatt & The ZAR Jazz Orchestra - Race For Timbuktu
10
Spha Mdlalose - Indlela
11
Blake Hellaby - Hodge
12
Leagan Starchild Ft. JustHlo - Fiend
13
Ndabo Zulu & Umgidi Ensemble - Nandi’s Suite (Interlude II)
14
Afrika Mkhize - Be Still
Following a definitive first volume jam-packed with forward-thinking musical talent working in the South African creative improvised music idiom, New Horizons returns with a fresh iteration of young artists who continue in the same tradition and tone.
The compilation showcases recent recordings from 14 more leading lights in South Africa’s contemporary jazz scene: pianists Thembelihle Dunjana, Afrika Mkhize, Sibusiso ‘Mash’ Mashiloane, Blake Hellaby and Siphephelo Ndlovu’s The SN Project; saxophonists Sisonke Xonti, Muhammad Dawjee and Linda Sikhakhane; singer Spha Mdlalose; drummers Ayanda Sikade, Leagan Starchild and Tefo Mahola; and trumpeters Ndabo Zulu and Marcus Wyatt accompanied respectively by Umgidi Ensemble and The ZAR Jazz Orchestra.
Together they form part of a vibrant, connected community charting new sonic territory that speaks to today’s troubled times while building on the country’s unique and proud jazz history. More
The compilation showcases recent recordings from 14 more leading lights in South Africa’s contemporary jazz scene: pianists Thembelihle Dunjana, Afrika Mkhize, Sibusiso ‘Mash’ Mashiloane, Blake Hellaby and Siphephelo Ndlovu’s The SN Project; saxophonists Sisonke Xonti, Muhammad Dawjee and Linda Sikhakhane; singer Spha Mdlalose; drummers Ayanda Sikade, Leagan Starchild and Tefo Mahola; and trumpeters Ndabo Zulu and Marcus Wyatt accompanied respectively by Umgidi Ensemble and The ZAR Jazz Orchestra.
Together they form part of a vibrant, connected community charting new sonic territory that speaks to today’s troubled times while building on the country’s unique and proud jazz history. More
1
Kamazu - Indaba Kabani
2
Kamazu - Victim
3
Kamazu - Why
4
Kamazu - Korobela
5
Kamazu - Mjukeit
6
Kamazu - Atikatareni
Repress!
New anthology on Afrosynth Records brings together six songs by South African disco star Kamazu, spanning his career from 1986 to 1997: two of his biggest hits, ‘Korobela’ and ‘Indaba Kabani’, two more obscure songs from his catalogue, ‘Victim’ and ‘Why’, and two tracks from his kwaito comeback, ‘Mjukeit’ and ‘Atikatareni’. More
New anthology on Afrosynth Records brings together six songs by South African disco star Kamazu, spanning his career from 1986 to 1997: two of his biggest hits, ‘Korobela’ and ‘Indaba Kabani’, two more obscure songs from his catalogue, ‘Victim’ and ‘Why’, and two tracks from his kwaito comeback, ‘Mjukeit’ and ‘Atikatareni’. More
1
Captain Mosez - Fly Cherry Fly (Extended Vocal)
2
Captain Mosez - Fly Cherry Fly (Single)
3
Captain Mosez - Hey! Hey! Hey! (Extended Vocal)
4
Captain Mosez - Hey! Hey! Hey! (Dub Version)
Releasedate: 08.03.2021
Re-issued for the very first time. Up until now the Captain Mosez 12" remained a highly sought after S.A. disco obscurity ( apparently going for the big $ on the collector market), but Afrosynth do the right thing in the right way and bring this edition for us all to enjoy.
In 1985 a young musician named Moses Mafiri walked into EMI Studios in Johannesburg. Working with Selwyn Shandel, then one of the label’s prolific in-house producers, the two tracks they recorded – ‘Fly Cherry Fly’ and ‘Hey! Hey! Hey!’ - reflect the range of international influences in South Africa’s burgeoning ‘bubblegum’ sound – Italo disco, electro-funk, even rock.
“I remember Moses as a very quiet, talented and gentle guy. He never really had a great voice but he used to come up with excellent melodies and lyrical concepts,” remembers Shandel today, admitting that he never saw or heard from him again after that session. Mafiri never released as Captain Mosez again, although he would later resurface in the backing band of internationally renowned Vusi Mahlasela. More
Re-issued for the very first time. Up until now the Captain Mosez 12" remained a highly sought after S.A. disco obscurity ( apparently going for the big $ on the collector market), but Afrosynth do the right thing in the right way and bring this edition for us all to enjoy.
In 1985 a young musician named Moses Mafiri walked into EMI Studios in Johannesburg. Working with Selwyn Shandel, then one of the label’s prolific in-house producers, the two tracks they recorded – ‘Fly Cherry Fly’ and ‘Hey! Hey! Hey!’ - reflect the range of international influences in South Africa’s burgeoning ‘bubblegum’ sound – Italo disco, electro-funk, even rock.
“I remember Moses as a very quiet, talented and gentle guy. He never really had a great voice but he used to come up with excellent melodies and lyrical concepts,” remembers Shandel today, admitting that he never saw or heard from him again after that session. Mafiri never released as Captain Mosez again, although he would later resurface in the backing band of internationally renowned Vusi Mahlasela. More
1
Chicco - No Title
2
Chicco - No Title
Soweto-born Sello Twala emerged as a key figure in South Africa’s bubblegum scene, initially cutting his teeth in the early 80s as part of groups Umoja, Harari and Image, who in 1985 released the track that would give him his nickname: ‘Chicco’. Teaming up with co-producer Attie van Wyk, later that year he released his first single as a solo artist, ‘We Can Dance’. It was followed in 1986 by ‘I Need Some Money’. Both tracks add accessible English lyrics and catchy call-and-response vocals to infectious Shangaan-rooted dance rhythms, appealing to a wide audience that defied apartheid categories and established Chicco as a charismatic solo star, as well as a talented producer, both in SA and across the continent. Based on the success of these breakthrough singles, Chicco would go on to release politically charged pop albums We Miss You Manelow (1987), Thina Sizwe Esimnyama (1989), Soldier (1989) and Papa Stop the War (1990) and Nomari (1991).
More
1
Adaye - No Title
2
Adaye - No Title
South African disco 12” originally released in 1983, the start of the country’s ‘bubblegum’ era. Adaye was a once-off studio project featuring members of Stimela, the SA supergroup formerly known as The Cannibals and at the time also recording under aliases like the Street Kids and Kumasi. As Adaye they roped in singer Al Etto and went into the studio with Heads Music boss Emil Zoghby, who shares songwriting credits with Ray Phiri on the only track they released: ‘Turn It Up’ - an eight-minute slice of guitar funk throbbing to a disco beat. Remastered from the original tapes and reissued on DJ Okapi’s Afrosynth Records.
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1
night force & the tom cats - No Title
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night force & the tom cats - No Title
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night force & the tom cats - No Title
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night force & the tom cats - No Title
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night force & the tom cats - No Title
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night force & the tom cats - No Title
South African disco release. The title track ‘Dance’, written by Belgian composer Frank Degrijse, was released by Night Force and became a hit throughout Europe in 1980. In South Africa the song was released with permission at a slower tempo (the original 45rpm was ‘officially’ slowed down to 33rpm). Added to this are four tracks by Music Team’s in-house production team the Tom Cats - including dub reworkings of recent Afrosynth releases ‘Burnin Beat’ and ‘Searchin’, here released as ‘Hot Stuff’ and ‘Search For Love’ respectively. Synth-heavy oddities ‘You Are My Fire’ and ‘Shake Shake’ make up the rest of the tracklist.
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volcano/ the beat gangsters - No Title
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volcano/ the beat gangsters - No Title
Kwaito 12-inch featuring two forgotten bass-heavy cuts from South Africa in the early 90s. Volcano is a sought after tune right now (so difficult to get an original copy!) while the Beat Gangsters are a new introduction (to us) from Okapi's vaults..TIP!
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1
Three Men - Inside
2
Three Men - Inside (Korkut Elbay Edit)
3
Three Men - Inside (Peaking Lights Rework)
The 1980 space disco hit you probably never heard of. Now officially remastered including new stunning edits by Peaking Lights and Korkut Elbay. Picture sleeve with an outstanding painting by Antonia Freisburger.
'Inside' with loads of synths and some vocoder on top is a wild jam that is propelling more and more into a frenzy during its course.
Following the orginal is a dancefloor-edit by Korkut Elbay which puts the vocal part into focus. Korkut Elbay, part of the Cómeme camp and an integral part of Cologne's electronic music scene for over 20 years, crafted an edit in its purest form.
On the flipside Aaron Coyes of the California-based duo Peaking Lights stretches out the original and reaches higher grounds with his stomping rework. He gently adds some more keys and puts you into a trance with his soothing melodies. Now dance!
But what's the story behind this unearthed gem stone? In the late 1970s a marketing company owner faced an increasing competitve market and wanted to work indepently from the professional studios which were charging high rates for commercials back then. The solution was to build his own sound studio. So he set one up in the basement of his company in Saarbrücken, Germany. He hired a studio operator and a composer that got quite a reputation in the local scence back then and besides daily job routines 'Inside' was created. More
'Inside' with loads of synths and some vocoder on top is a wild jam that is propelling more and more into a frenzy during its course.
Following the orginal is a dancefloor-edit by Korkut Elbay which puts the vocal part into focus. Korkut Elbay, part of the Cómeme camp and an integral part of Cologne's electronic music scene for over 20 years, crafted an edit in its purest form.
On the flipside Aaron Coyes of the California-based duo Peaking Lights stretches out the original and reaches higher grounds with his stomping rework. He gently adds some more keys and puts you into a trance with his soothing melodies. Now dance!
But what's the story behind this unearthed gem stone? In the late 1970s a marketing company owner faced an increasing competitve market and wanted to work indepently from the professional studios which were charging high rates for commercials back then. The solution was to build his own sound studio. So he set one up in the basement of his company in Saarbrücken, Germany. He hired a studio operator and a composer that got quite a reputation in the local scence back then and besides daily job routines 'Inside' was created. More
1
Nacho Marty Meyer - Galeria Guizona
2
Nacho Marty Meyer - Turismos
3
Nacho Marty Meyer - Queen Africa
4
Nacho Marty Meyer - Journey To Love
5
Nacho Marty Meyer - Magical Journey
6
Nacho Marty Meyer - Fiesta De Animales
7
Nacho Marty Meyer - Afternoon Revelation
8
Nacho Marty Meyer - Stylos
9
Nacho Marty Meyer - The Sun Goes Down
10
Nacho Marty Meyer - CZ Funk
11
Nacho Marty Meyer - Orbitas
First compilation album by Argentine synthesizer maniac Nacho Marty Meyer... Tip!
Since the 80's, Meyer has been interested in synthesizers and electronic music, and started making demos. The compilation includes the Italo disco track 'Magical Journey', previously released under the name Xarion, which is now a hard-to-find record.
Makoto (satoshi& makoto): "The sincerity conveyed in his work is very good and I love the primitive feel of the music." More
Since the 80's, Meyer has been interested in synthesizers and electronic music, and started making demos. The compilation includes the Italo disco track 'Magical Journey', previously released under the name Xarion, which is now a hard-to-find record.
Makoto (satoshi& makoto): "The sincerity conveyed in his work is very good and I love the primitive feel of the music." More
1
Rahaan - One Man
2
Rahaan - No Luck
1
Steve Jones / Fatboys U.K. - I Need You By My Side
2
Steve Jones / Fatboys U.K. - I Need You By My Side (Dub Version)
3
Fatboys U.K. - The Challenge
This rare Brit Funk 12” was originally released in 1984 and is now officially reissued for the first time. Licensed from producer Lindel Lewis, the 12” was heavily influenced by US Boogie and Disco and there’s a Dub influence at play as Lindel was also producing a lot of reggae around this time, most famously ‘Night Over Egypt’ by Mystic Harmony.
The 12” includes a previously unreleased Dub Version of ‘I Need You’ and was produced on two Analogue classics, Lindel says “I used a Linn Drum for the drums and played all synth parts using a Roland 106. I’m a classically trained musician and also a sound engineer, I worked at Mark Angelo Recording Studios for 18 years and have produced a great many artists. Steve Jones real name is Steve Myers, but I didn’t like the surname so changed it to Jones which felt more soulful. The name The Fat Boys came about because of the big bellies of myself the flute player Mike Appoh, my trainee engineer at the time. Ray Carlass played the sax solo, they have both now sadly passed”.
This long overdue reissue revives a standout moment in Brit Funk history, making it an essential addition for fans of classic Boogie and Disco. A 140 gram pressing in 3mm spine disco sleeve with labels and sticker designed by Bradley Pinkerton. More
The 12” includes a previously unreleased Dub Version of ‘I Need You’ and was produced on two Analogue classics, Lindel says “I used a Linn Drum for the drums and played all synth parts using a Roland 106. I’m a classically trained musician and also a sound engineer, I worked at Mark Angelo Recording Studios for 18 years and have produced a great many artists. Steve Jones real name is Steve Myers, but I didn’t like the surname so changed it to Jones which felt more soulful. The name The Fat Boys came about because of the big bellies of myself the flute player Mike Appoh, my trainee engineer at the time. Ray Carlass played the sax solo, they have both now sadly passed”.
This long overdue reissue revives a standout moment in Brit Funk history, making it an essential addition for fans of classic Boogie and Disco. A 140 gram pressing in 3mm spine disco sleeve with labels and sticker designed by Bradley Pinkerton. More
1
Citi Express - It's Too Late
2
Citi Express - Love Is The Message
3
Citi Express - People Of The World
4
Citi Express - Victim Of Your Love
5
Citi Express - Living For The City
6
Citi Express - Open Invitation
Cover versions of international songs have long thrived in South Africa’s music industry. Often unable to license the original tracks (until the early 90s the result of an international boycott of the country) labels instead hired producers and session artists to re-record them for the local market. Early house music in SA was no different.
When Ron ‘Robot’ Friedman, former bass player for local rockers Rabbitt, was winding down his label On Records in the early 90s, he reached out for new inspiration as the popularity of ‘bubblegum’ disco waned. For one of the label’s final releases he hired young DJ/producer Quentin Foster, obsessed with the new soulful house sound coming out of the US, to take the reins on a studio project dubbed Citi Express.
On Robot’s insistence it included a cover of Stevie Wonder’s ‘Living for the City’ (from 1973’s Innervisions) as the title track. Foster set to work in his home studio, dubbed Tone Def, selecting and re-working other US and UK tracks — ‘It’s Too Late’ (originally released in 1989 by Kelli Sae), ‘Love is the Message’ (influenced by the 70s soul anthem and credited to Gamble & Huff but bearing a closer resemblance to Better Days’ 1990 release written by Steve Proctor), ‘People of The World’ (recorded by Sorell Johnson in the UK in 1990) and ‘Victim of Your Love’ (released in 1990 by Gary Vonqwest as ‘Victim of Love’) — adding some signature South African touches in the process that foreshadow the imminent rise of kwaito. One original composition was added for good measure, ‘Open Invitation’.
The result offers a glimpse into those early days of house, a uniquely South African take on a global sound that still resonates today — reissued for the first time on Afrosynth Records. More
When Ron ‘Robot’ Friedman, former bass player for local rockers Rabbitt, was winding down his label On Records in the early 90s, he reached out for new inspiration as the popularity of ‘bubblegum’ disco waned. For one of the label’s final releases he hired young DJ/producer Quentin Foster, obsessed with the new soulful house sound coming out of the US, to take the reins on a studio project dubbed Citi Express.
On Robot’s insistence it included a cover of Stevie Wonder’s ‘Living for the City’ (from 1973’s Innervisions) as the title track. Foster set to work in his home studio, dubbed Tone Def, selecting and re-working other US and UK tracks — ‘It’s Too Late’ (originally released in 1989 by Kelli Sae), ‘Love is the Message’ (influenced by the 70s soul anthem and credited to Gamble & Huff but bearing a closer resemblance to Better Days’ 1990 release written by Steve Proctor), ‘People of The World’ (recorded by Sorell Johnson in the UK in 1990) and ‘Victim of Your Love’ (released in 1990 by Gary Vonqwest as ‘Victim of Love’) — adding some signature South African touches in the process that foreshadow the imminent rise of kwaito. One original composition was added for good measure, ‘Open Invitation’.
The result offers a glimpse into those early days of house, a uniquely South African take on a global sound that still resonates today — reissued for the first time on Afrosynth Records. More
Label:Hot Biscuit Recrodings
Cat-No:SONIC2HBR
Release-Date:18.10.2024
Genre:Chicago House
Configuration:12"
Label:Hot Biscuit Recrodings
Cat-No:SONIC2HBR
Release-Date:18.10.2024
Genre:Chicago House
Configuration:12"
1
Toddsonic33 - Yes
2
Toddsonic33 - Make Me A Woman
3
Toddsonic33 - Deesko Music
1
The Mole - Sing a Storm
2
The Mole - Que Rico
3
The Mole - Heart of a Canary
4
The Mole - Deeper Filth
5
The Mole - Just Another Kid
6
The Mole - Arp on a Table
7
The Mole - Boulevard
8
The Mole - Vessel Plans
9
The Mole - JP Ate Culture
10
The Mole - Mountain Range
11
The Mole - nEw fAme
12
The Mole - That Old Fuck
13
The Mole - Burger Time
14
The Mole - Umpah Band
15
The Mole - Don’t Wake Me Up Bro
16
The Mole - Not Lost
17
The Mole - GoinF4er
Genre: Beats, Ambient, Electronica
Tracklist LP:
A1. Sing a Storm - A2. Que Rico - A3. Heart of a Canary - A4. Deeper Filth - A5. Just Another Kid - A6. Arp on a Table -
B1. Boulevard - B2. Vessel Plans - B3. JP Ate Culture - B4. Mountain Range - B5. nEw fAme - B6. That Old Fuck - B7. Burger Time - B8. Umpah Band - B9. Don’t Wake Me Up Bro - B10. Not Lost - B11. GoinF4er
Short Info:
High Hopes - New album from the Mole.
High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the
beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.
What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to
Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples
chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original
collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie.
Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His collages marry the corporeal world with an updated, digitalized age of
reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling.
We can’t always produce content, make art, we must also pause, and listen. And enjoy. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz
(Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with
the musicians from whom he learned so much. People who helped inform the shape of Mole to come.
The Mole who was As High As The Sky. The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places.
High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).
*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle
can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion. More
Tracklist LP:
A1. Sing a Storm - A2. Que Rico - A3. Heart of a Canary - A4. Deeper Filth - A5. Just Another Kid - A6. Arp on a Table -
B1. Boulevard - B2. Vessel Plans - B3. JP Ate Culture - B4. Mountain Range - B5. nEw fAme - B6. That Old Fuck - B7. Burger Time - B8. Umpah Band - B9. Don’t Wake Me Up Bro - B10. Not Lost - B11. GoinF4er
Short Info:
High Hopes - New album from the Mole.
High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the
beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.
What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to
Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples
chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original
collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie.
Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His collages marry the corporeal world with an updated, digitalized age of
reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling.
We can’t always produce content, make art, we must also pause, and listen. And enjoy. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz
(Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with
the musicians from whom he learned so much. People who helped inform the shape of Mole to come.
The Mole who was As High As The Sky. The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places.
High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).
*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle
can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion. More
1
Mariah - Sokokara
2
Mariah - Shisen
3
Mariah - Hana Ga Saitara
4
Mariah - Fujiyu Na Nezumi
5
Mariah - Sora Ni Mau Maboroshi
6
Mariah - Shinzo No Tobira
7
Mariah - Shonen
Repress!
* A legendary yet long lost crown jewel from the early 80s Japanese Electronic and Jazz Rock scene
* new powerful master, much appreciated by the artist
* 2LP in UV-glossy laminated gatefold sleeve with OBI
* includes A1 Poster 60x60cm and lyric sheet
* vinyl comes in Japanese Katta innersleeves
Mariah was a Japanese outfit in the field of art pop, way back in the very late 70s and early 80s with 5 albums up their score from 1980 to 1983. The album from 1979 entitled as “Mariah” was actually made before the band Mariah was formed, and was released as a solo album by Yasuaki Shimizu. The album at hand is the fifth and for the time being last album in this row, released as a double vinyl back in 1983. Original copies, that are at least in very good condition, are hard to find. The brand new reissue on Everland, unlike the original and the first vinyl reissue from 2015, comes housed in a thick and artfully designed gatefold sleeve with OBI, which finally does justice to the progressive spirit of the music you will find here.
The musical basement of Utakata No Hibi is a fusion of dreamy synthesizer pop and haunting new wave music, that could be found all around the globe back in 1983. In the vein of TEARS FOR FEARS or more adventurous DAVID BOWIE stuff, with a touch of KRAFTWERK or even BRIAN ENO here and there, but all this gets spiced up with an atmosphere of Japanese traditionalism, with a few bits and pieces from the old music from this Far East island, which sounds so magic to us Westeners. The progressive, wacky art pop of this project was led by the popular Japanese composer and musician Yasuaki Shimizu, a relentlessly exploratory saxophonist who even dared to rework Johann Sebastian Bach’s cello suites for saxophone.
As brilliant as this man is, the music on „Utakata No Hibi“ turns out to be. And the master himself approved and much appreciated the brandnew remastering of this album by assisting a highly professional team of sound engineers who dusted off the ancient tape reels. For certain the record sounds and feels 80s through and through, electronic to the very rhythmical bone of each song sugar coated with catchy melodies that resemble Japanese classic and Enka music, which is a kind of folksy pop music. The listener gets directly drawn into a feverish dream of steaming Far Eastern cities and their darkest and most depraved corners where you find everything cheap in sleazy bars and unlighted backyards and alleys. The next moment he strolls through a beautiful Japanese park surrounded by a sea of blossoms. This change in mood and style you will experience in the sparsely instrumented tune „Shisen“, which indeed comes closest to classic Japanese folk tunes without any too catchy and pop oriented melodies. But we certainly find these harmonies allover the album. Some tunes even feel like ancient BEACH BOYS compositions and Brian Wilson creations played by a then contemporary electronic pop act and sung in Japanese.
An amazingly colorful album with songs that are based on solid substance rather than cheap pop structures. This is music for the bold listeners and music lovers and this awesome reissue should quickly find it’s way into the record collections of 80s synth and art pop aficionadoes.
Yasuaki Shimizu did what he wanted with MARIAH, pushed the borders of popular music further than anybody would have thought. Listen to a track like „Shonen“ with a repetitive rhythm pattern that hypnotizes you and somehow silky melodylines by saxophone and synth piano upon which a female voice sings in a very spiritual way. Praising pop or whatever this can be called, it is sheer magic put in music. I wonder if this would have made it into the charts back then, but you never know. It is a piece of musical art that shall be listened to. More
* A legendary yet long lost crown jewel from the early 80s Japanese Electronic and Jazz Rock scene
* new powerful master, much appreciated by the artist
* 2LP in UV-glossy laminated gatefold sleeve with OBI
* includes A1 Poster 60x60cm and lyric sheet
* vinyl comes in Japanese Katta innersleeves
Mariah was a Japanese outfit in the field of art pop, way back in the very late 70s and early 80s with 5 albums up their score from 1980 to 1983. The album from 1979 entitled as “Mariah” was actually made before the band Mariah was formed, and was released as a solo album by Yasuaki Shimizu. The album at hand is the fifth and for the time being last album in this row, released as a double vinyl back in 1983. Original copies, that are at least in very good condition, are hard to find. The brand new reissue on Everland, unlike the original and the first vinyl reissue from 2015, comes housed in a thick and artfully designed gatefold sleeve with OBI, which finally does justice to the progressive spirit of the music you will find here.
The musical basement of Utakata No Hibi is a fusion of dreamy synthesizer pop and haunting new wave music, that could be found all around the globe back in 1983. In the vein of TEARS FOR FEARS or more adventurous DAVID BOWIE stuff, with a touch of KRAFTWERK or even BRIAN ENO here and there, but all this gets spiced up with an atmosphere of Japanese traditionalism, with a few bits and pieces from the old music from this Far East island, which sounds so magic to us Westeners. The progressive, wacky art pop of this project was led by the popular Japanese composer and musician Yasuaki Shimizu, a relentlessly exploratory saxophonist who even dared to rework Johann Sebastian Bach’s cello suites for saxophone.
As brilliant as this man is, the music on „Utakata No Hibi“ turns out to be. And the master himself approved and much appreciated the brandnew remastering of this album by assisting a highly professional team of sound engineers who dusted off the ancient tape reels. For certain the record sounds and feels 80s through and through, electronic to the very rhythmical bone of each song sugar coated with catchy melodies that resemble Japanese classic and Enka music, which is a kind of folksy pop music. The listener gets directly drawn into a feverish dream of steaming Far Eastern cities and their darkest and most depraved corners where you find everything cheap in sleazy bars and unlighted backyards and alleys. The next moment he strolls through a beautiful Japanese park surrounded by a sea of blossoms. This change in mood and style you will experience in the sparsely instrumented tune „Shisen“, which indeed comes closest to classic Japanese folk tunes without any too catchy and pop oriented melodies. But we certainly find these harmonies allover the album. Some tunes even feel like ancient BEACH BOYS compositions and Brian Wilson creations played by a then contemporary electronic pop act and sung in Japanese.
An amazingly colorful album with songs that are based on solid substance rather than cheap pop structures. This is music for the bold listeners and music lovers and this awesome reissue should quickly find it’s way into the record collections of 80s synth and art pop aficionadoes.
Yasuaki Shimizu did what he wanted with MARIAH, pushed the borders of popular music further than anybody would have thought. Listen to a track like „Shonen“ with a repetitive rhythm pattern that hypnotizes you and somehow silky melodylines by saxophone and synth piano upon which a female voice sings in a very spiritual way. Praising pop or whatever this can be called, it is sheer magic put in music. I wonder if this would have made it into the charts back then, but you never know. It is a piece of musical art that shall be listened to. More
1
Zellmani - Yongheng Forever
2
Zellmani & Piotr - Nuevo Portamento
3
Zellmani & Gojiano - Smutt
4
Zellmani - Eternal Loop of Emotions
Tracklist:
A1) Zellmani - Yongheng Forever
A2) Zellmani & Piotr - Nuevo Portamento
B1) Zellmani & Gojiano - Smutt
B2) Zellmani - Eternal Loop of Emotions
Short info:
We are back with more songs from Nicolai Zellmani, presenting a selection of 4 previously unreleased tracks from the vaults, retouched and Deejay ready.
Fans of his first EP on Public Possession „Percussion Heaven“ will notice with delight: a similarly tribalistic, warm & spheric approach to Techno on the tracks „Yongheng Forever“ and „Smutt“. Then you have „Nuevo Portamento“ a crazy, harmonius leftfield anthem and „Eternal Loop“ the ultimate song for a late night (early morning) ecstasy experience. Big Tip!
More
A1) Zellmani - Yongheng Forever
A2) Zellmani & Piotr - Nuevo Portamento
B1) Zellmani & Gojiano - Smutt
B2) Zellmani - Eternal Loop of Emotions
Short info:
We are back with more songs from Nicolai Zellmani, presenting a selection of 4 previously unreleased tracks from the vaults, retouched and Deejay ready.
Fans of his first EP on Public Possession „Percussion Heaven“ will notice with delight: a similarly tribalistic, warm & spheric approach to Techno on the tracks „Yongheng Forever“ and „Smutt“. Then you have „Nuevo Portamento“ a crazy, harmonius leftfield anthem and „Eternal Loop“ the ultimate song for a late night (early morning) ecstasy experience. Big Tip!
More
Label:Be With Records
Cat-No:bewith170lp
Release-Date:08.11.2024
Genre:Soul/Funk
Configuration:Vinyl Bundle Excl
Label:Be With Records
Cat-No:bewith170lp
Release-Date:08.11.2024
Genre:Soul/Funk
Configuration:Vinyl Bundle Excl
1
Thomas Almqvist - Lullaby For Zak
2
Lewis Taylor - Cherry Blossom
3
Mic Murphy - Salon du Chocolat
4
52nd Street - I'd Fallen In Love (With The Wrong Kind)
5
Coastlines - Hot Wind
6
Maston - Joyride
7
Kenny Dickenson - Stupid Rain
8
The Autumn Defense - Bluebirds Fall
9
Stimulator Jones - Aquarius-Pisces Cusp
10
Andre Cymone - Sex Love Experience
Format: LP + Book
Format Notes:
Housed together in a stunning 380gsm board slipcase with a matt laminate soft touch finish and a UV spot varnish on the beloved Be With logo, we proudly present the Be With 10 Years record and book package.
Record contains 10 exclusive never-before-on-vinyl tracks from 10 Be With family members. 310mm square softcover book printed on a 350gsm woodfree uncoated board. Book block printed on 120gsm Dadong Lucky Bird woodfree uncoated paper. 140gram vinyl with a 380gsm jacket. 1000 copies only for the world, no repress!
Track List:
A1 Thomas Almqvist - Lullaby For Zak
A2 Lewis Taylor - Cherry Blossom
A3 Mic Murphy - Salon du Chocolat
A4 52nd Street - I'd Fallen In Love (With The Wrong Kind)
A5 Coastlines - Hot Wind
B1 Maston - Joyride
B2 Kenny Dickenson - Stupid Rain
B3 The Autumn Defense - Bluebirds Fall
B4 Stimulator Jones - Aquarius-Pisces Cusp
B5 Andre Cymone - Sex Love Experience
THE RECORD: JOYRIDE
10 tracks for 10 Years of Be With from 10 of our favourite artists we've ever worked with over the past decade. As a happily "all over the place" label, the music, accordingly, had to be varied in vibe and style.
We start with a gorgeous acoustic folk track from Thomas Almqvist. I first heard this when our dear friend Andre Allday - who first suggested and then facilitated the Nyanser reissue - played it during our release party for the record at the amazing Hosoi in Stockholm. As something to grab your attention from the off, it's a pretty good opener, I reckon - it'll stop you in your tracks.
We move into an almost totally "lost" Lewis Taylor track, known to and beloved by only his hardest of hardcore fans. Before now, it has only ever seen the light of day on some obscure late 90s CD of "lullabies" compiled by Joan Armatrading. Us neither!
Mic Murphy from Sass/The Mighty Soulmates/The System (!!!) allowed us to use an unreleased track from his mysterious late 90s period. He sent over 7 stunning tracks and, over breakfast one winter morning with my two sons, Rocco and Bruno, the 3 of us selected the track that made us bounce the most while chomping on our cereal.
In deep fall of 2023, myself and Steven (The Funky Paramedic™) had the great pleasure of visiting Tony Henry, leader of the legendary Manchester 80s soul-funk act 52nd Street (those who "put the dance into Factory") to speak some more about a forthcoming retrospective that's been in the works for 5 years now. Fear not - it's coming! Anyway, we went into Tony's amazing studio and he played us the track you hear, here. A demo originally meant for Phyllis Hyman (I mean, come on!), he's very kindly let us use it for this record. A thousand thank yous. It's sensational.
Side A closes out with an elegant exclusive from our favourite Japanese duo, Coastlines, a tropical jazz-funk-fusion track that only they can so effortlessly craft. Sublime.
Side B opens with another total exclusive, and the title track of this compilation. "Joyride" is like some kind of swinging, G-Funk library from the Californian master of modern cinematic soul - Maston. We love everything about this dude. Speaking of California, next up is possibly the coolest ex-pat Manc in all of the Golden State.
Kenny Dickenson's instant classic "Stupid Rain" knocked me out the first time I heard it. The way it starts as a beautifully ornate ambient piece before introducing the barest of pulses to then segue into a full slo-mo cosmic chugger just gets me every time. Man's a genius.
Our great friends from Wilco, Pat and John, comprise The Autumn Defense. Two of the nicest humans in the game and "Bluebirds Fall" is chiming folk-rock at its finest. What they do best and, beyond a tiny-run CD EP decades ago, this is the only way to own this majestic stunner.
Stimulator Jones is a Stones Throw artist who we've loved ever since the epochal "Soon Never Comes" graced our ears. We're putting out his archive beats and when I asked if he had anything fresh that hadn't yet found a home, he sent over a modern / spiritual jazz movement that just blew me away. It's here.
We round out the compilation with a staccato funk-rock track from a Prince alumnus, the one and only Andre Cymone. If this track isn't blasting from radio stations from Dublab to Gilles to NTS then there's no justice in the world.
Of course, as is our way, none of these tracks have ever appeared on vinyl before. This is the only way to own them on wax. Pretty cool. As ever, all we ever want to hear is music with soul and personality. And that's what's contained here. We think we've nailed it. We think you'll like it too.
THE BOOK: LABOUR OF LOVE
Created in conjunction with the editor and design team behind Disco Pogo, Labour Of Love is our first ever book and serves as a brilliantly rich and varied document of Be With's first 10 years. It surveys our entire catalogue with the artwork for every single release faithfully reproduced in full colour accompanied by Rob's inimitable reviews.
The book contains fresh, exclusive interviews with Ned Doheny, Leon Ware, Lewis Taylor, Tommy Guerrero, Wally Badarou, Steve Moore, Pete Fowler, Kimiko Kasai, Tony Henry (52nd Street), The Autumn Defense, Coastlines and The Mighty Soulmates.
There's also fantastic contributions from a whole host of well regarded fans of the label. We have Gilles Peterson on Ned, Trevor Jackson on Nucleus, Efficient Space on Steve Hiett and the joy of collaboration in a competitive industry, Bill Brewster on Marti Caine, Balearic Mike on Kylie and Lou Hayter on her beloved Air.
We explore the development of the Be With logo and also take an insider's look at the journey of a typical Be With record; from the mastering stage with Simon Francis, cutting it up with Cicely Balston, the artwork ordeals with Chris Stevenson, pressing matters with Record Industry, slinging product with ace distributors Word And Sound, stocking product with our favourite London record shop When Spaceships Appear and even packing records for direct orders with our very own Funky Paramedic.
There's also an irreverent look at the legendary Reissue Request Line over on Facebook, with many hints at things to come.
Beautifully designed and printed, the book is a large format (310mm square) softcover gem, printed on a 350gsm woodfree uncoated board. It's been block printed on 120gsm Dadong Lucky Bird woodfree uncoated paper. It's housed in a stunning 380gsm board slipcase with a matt laminate soft touch finish and a UV spot varnish on the beloved Be With full colour logo.
More
Format Notes:
Housed together in a stunning 380gsm board slipcase with a matt laminate soft touch finish and a UV spot varnish on the beloved Be With logo, we proudly present the Be With 10 Years record and book package.
Record contains 10 exclusive never-before-on-vinyl tracks from 10 Be With family members. 310mm square softcover book printed on a 350gsm woodfree uncoated board. Book block printed on 120gsm Dadong Lucky Bird woodfree uncoated paper. 140gram vinyl with a 380gsm jacket. 1000 copies only for the world, no repress!
Track List:
A1 Thomas Almqvist - Lullaby For Zak
A2 Lewis Taylor - Cherry Blossom
A3 Mic Murphy - Salon du Chocolat
A4 52nd Street - I'd Fallen In Love (With The Wrong Kind)
A5 Coastlines - Hot Wind
B1 Maston - Joyride
B2 Kenny Dickenson - Stupid Rain
B3 The Autumn Defense - Bluebirds Fall
B4 Stimulator Jones - Aquarius-Pisces Cusp
B5 Andre Cymone - Sex Love Experience
THE RECORD: JOYRIDE
10 tracks for 10 Years of Be With from 10 of our favourite artists we've ever worked with over the past decade. As a happily "all over the place" label, the music, accordingly, had to be varied in vibe and style.
We start with a gorgeous acoustic folk track from Thomas Almqvist. I first heard this when our dear friend Andre Allday - who first suggested and then facilitated the Nyanser reissue - played it during our release party for the record at the amazing Hosoi in Stockholm. As something to grab your attention from the off, it's a pretty good opener, I reckon - it'll stop you in your tracks.
We move into an almost totally "lost" Lewis Taylor track, known to and beloved by only his hardest of hardcore fans. Before now, it has only ever seen the light of day on some obscure late 90s CD of "lullabies" compiled by Joan Armatrading. Us neither!
Mic Murphy from Sass/The Mighty Soulmates/The System (!!!) allowed us to use an unreleased track from his mysterious late 90s period. He sent over 7 stunning tracks and, over breakfast one winter morning with my two sons, Rocco and Bruno, the 3 of us selected the track that made us bounce the most while chomping on our cereal.
In deep fall of 2023, myself and Steven (The Funky Paramedic™) had the great pleasure of visiting Tony Henry, leader of the legendary Manchester 80s soul-funk act 52nd Street (those who "put the dance into Factory") to speak some more about a forthcoming retrospective that's been in the works for 5 years now. Fear not - it's coming! Anyway, we went into Tony's amazing studio and he played us the track you hear, here. A demo originally meant for Phyllis Hyman (I mean, come on!), he's very kindly let us use it for this record. A thousand thank yous. It's sensational.
Side A closes out with an elegant exclusive from our favourite Japanese duo, Coastlines, a tropical jazz-funk-fusion track that only they can so effortlessly craft. Sublime.
Side B opens with another total exclusive, and the title track of this compilation. "Joyride" is like some kind of swinging, G-Funk library from the Californian master of modern cinematic soul - Maston. We love everything about this dude. Speaking of California, next up is possibly the coolest ex-pat Manc in all of the Golden State.
Kenny Dickenson's instant classic "Stupid Rain" knocked me out the first time I heard it. The way it starts as a beautifully ornate ambient piece before introducing the barest of pulses to then segue into a full slo-mo cosmic chugger just gets me every time. Man's a genius.
Our great friends from Wilco, Pat and John, comprise The Autumn Defense. Two of the nicest humans in the game and "Bluebirds Fall" is chiming folk-rock at its finest. What they do best and, beyond a tiny-run CD EP decades ago, this is the only way to own this majestic stunner.
Stimulator Jones is a Stones Throw artist who we've loved ever since the epochal "Soon Never Comes" graced our ears. We're putting out his archive beats and when I asked if he had anything fresh that hadn't yet found a home, he sent over a modern / spiritual jazz movement that just blew me away. It's here.
We round out the compilation with a staccato funk-rock track from a Prince alumnus, the one and only Andre Cymone. If this track isn't blasting from radio stations from Dublab to Gilles to NTS then there's no justice in the world.
Of course, as is our way, none of these tracks have ever appeared on vinyl before. This is the only way to own them on wax. Pretty cool. As ever, all we ever want to hear is music with soul and personality. And that's what's contained here. We think we've nailed it. We think you'll like it too.
THE BOOK: LABOUR OF LOVE
Created in conjunction with the editor and design team behind Disco Pogo, Labour Of Love is our first ever book and serves as a brilliantly rich and varied document of Be With's first 10 years. It surveys our entire catalogue with the artwork for every single release faithfully reproduced in full colour accompanied by Rob's inimitable reviews.
The book contains fresh, exclusive interviews with Ned Doheny, Leon Ware, Lewis Taylor, Tommy Guerrero, Wally Badarou, Steve Moore, Pete Fowler, Kimiko Kasai, Tony Henry (52nd Street), The Autumn Defense, Coastlines and The Mighty Soulmates.
There's also fantastic contributions from a whole host of well regarded fans of the label. We have Gilles Peterson on Ned, Trevor Jackson on Nucleus, Efficient Space on Steve Hiett and the joy of collaboration in a competitive industry, Bill Brewster on Marti Caine, Balearic Mike on Kylie and Lou Hayter on her beloved Air.
We explore the development of the Be With logo and also take an insider's look at the journey of a typical Be With record; from the mastering stage with Simon Francis, cutting it up with Cicely Balston, the artwork ordeals with Chris Stevenson, pressing matters with Record Industry, slinging product with ace distributors Word And Sound, stocking product with our favourite London record shop When Spaceships Appear and even packing records for direct orders with our very own Funky Paramedic.
There's also an irreverent look at the legendary Reissue Request Line over on Facebook, with many hints at things to come.
Beautifully designed and printed, the book is a large format (310mm square) softcover gem, printed on a 350gsm woodfree uncoated board. It's been block printed on 120gsm Dadong Lucky Bird woodfree uncoated paper. It's housed in a stunning 380gsm board slipcase with a matt laminate soft touch finish and a UV spot varnish on the beloved Be With full colour logo.
More
1
Yasuaki Shimizu - Suiren
2
Yasuaki Shimizu - Kakashi
3
Yasuaki Shimizu - Kono Yo Ni Yomeri #1
4
Yasuaki Shimizu - Kono Yo Ni Yomeri #1
5
Yasuaki Shimizu - Kono Yo Ni Yomeri #2
6
Yasuaki Shimizu - Yune Dewa
7
Yasuaki Shimizu - Umi No Ue Kara
8
Yasuaki Shimizu - Utsukushiki Tennen
Repress!
A wonderful, rare record wrapped in a mysterious yet playful ambiance. Or maybe it's just the impression that the Japanese language often gives me. ''Suiren'' is an odd jazz-fusion-wave tune that sounds like its boiling, waiting to burst but somehow manages to stay in control. Like the nervous tick of a leg fidgeting under the table of a restaurant on a first date. Re-issued again, with new liner notes.
Yasuaki Shimizu is a Japanese composer, producer and saxophone player born in 1954. He worked with Ryuchi Sakimoto on certain arrangements, with the South Korean artist Nam June Paik on art+sound installation pieces and even DJ Towa Tei (of Deee-Lite fame). ''Suiren'' was released in 1981 and is the opening title on the sought-after ''Kakashi'' album and is my personal favorite on this overall brilliant record. It weaves behind new wave, jazz, fusion, ambient and experimental music.
Repetitive and hypnotizing, punctuated by exclamation marks on most first mesures, the muted triangle percussion hits me straight in the heart. About 90 seconds into the song, the saxophone makes its appearance and the song goes from ''this is cute'' to ''oh, this is some serious shit!''. Shimizu's saxophone frees the song from the rest of the elements which are more calculated and repetitive.
A joyful, mysterious slow-moving train ride led by the artist's mellow voice that rocks us with this calming but funky lullaby. Every phrase is punctuated by the xylophone there to energize the piece, albeit very subtely. More
A wonderful, rare record wrapped in a mysterious yet playful ambiance. Or maybe it's just the impression that the Japanese language often gives me. ''Suiren'' is an odd jazz-fusion-wave tune that sounds like its boiling, waiting to burst but somehow manages to stay in control. Like the nervous tick of a leg fidgeting under the table of a restaurant on a first date. Re-issued again, with new liner notes.
Yasuaki Shimizu is a Japanese composer, producer and saxophone player born in 1954. He worked with Ryuchi Sakimoto on certain arrangements, with the South Korean artist Nam June Paik on art+sound installation pieces and even DJ Towa Tei (of Deee-Lite fame). ''Suiren'' was released in 1981 and is the opening title on the sought-after ''Kakashi'' album and is my personal favorite on this overall brilliant record. It weaves behind new wave, jazz, fusion, ambient and experimental music.
Repetitive and hypnotizing, punctuated by exclamation marks on most first mesures, the muted triangle percussion hits me straight in the heart. About 90 seconds into the song, the saxophone makes its appearance and the song goes from ''this is cute'' to ''oh, this is some serious shit!''. Shimizu's saxophone frees the song from the rest of the elements which are more calculated and repetitive.
A joyful, mysterious slow-moving train ride led by the artist's mellow voice that rocks us with this calming but funky lullaby. Every phrase is punctuated by the xylophone there to energize the piece, albeit very subtely. More