Label:Odion Livingstone
Cat-No:ODILIV002
Release-Date:10.01.2025
Genre:Afrobeat
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Grotto - Come Along With Me
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Grotto - Bad Times
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Grotto - Funk From Mother
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Grotto - Grottic Depression 2
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Grotto - Grottic Depression (1)
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Grotto - Change Of Tide
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Grotto - Doomed
A uncompromisingly afro psych-rock testament.
Christening themselves War Head Constriction, the trio started playing shows, flaunting a gutsy, dark proto-metal sound that refracted Black Sabbath and Deep Purple through an afro-rhythmic prism. In no time, the group was snapped up by the progressive record label Afrodisia and they cut a single, ‘Graceful Bird’ b/w ‘Shower of Stone,’ released in early 1973. Alas, the War Head gleeful discordance might have been a tad too progressive for the commercial audience; the record died on the vine, precipitating a crack-up within the group. War Head Constriction managed to play their biggest show, opening up for Fela & the Afrika 70 at the National Stadium, Lagos before calling it quits. Still, there was no time to mourn the old group, as new ones were constantly forming at St. Gregory’s.
“At Greg’s I started jamming with Soga Benson, my cousin Skid, and Ben Bruce,” Amenechi says. “We all just used to jam, write, explore and perform where we could.”
“Martin and I were kind of rivals since he was in KC and I was in Greg’s,” Benson remembers. “But when Martin came to Greg’s, we became very, very close.”
Soga Benson
(lead guitar, vocals)
Benson kept pursuing the hobby and remained busy as a guitar for hire, joining Ofege for their second and third albums in 1975 and 1977. Yet, his main group Grotto had still not yet been in a recording studio until EMI Records—the premier label for afro-rock—took an active interest in 1977.
“Odion Iruoje was the A&R manager at EMI at the time,” Benson says, “and he auditioned us, liked he material and signed us.”
“I remember the Grotto audition, they were a bit cocky, St Gregs boys, they had some material that they thought was great but I felt otherwise. Grotto was a rock group but we needed to get them somewhere original. That was the challenge, not to sound like Ofege or some British rock group, but for them to sound like their authentic self. I was into youth bands at the time; I felt they offered something fresh. Most pros were into reggae, which I hated (not as a genre but in the way it was aped) and youth bands allowed me to experiment; I gave them something and they in turn gave me something, which I could take to the next project. They made me in a way. EMI Nigeria did not really get the emergence of the youth market, they thought I was fooling around with kids’ bands”.
Mr Odion Iruoje
(Resident A&R exec/Producer, EMI Nigeria)
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Christening themselves War Head Constriction, the trio started playing shows, flaunting a gutsy, dark proto-metal sound that refracted Black Sabbath and Deep Purple through an afro-rhythmic prism. In no time, the group was snapped up by the progressive record label Afrodisia and they cut a single, ‘Graceful Bird’ b/w ‘Shower of Stone,’ released in early 1973. Alas, the War Head gleeful discordance might have been a tad too progressive for the commercial audience; the record died on the vine, precipitating a crack-up within the group. War Head Constriction managed to play their biggest show, opening up for Fela & the Afrika 70 at the National Stadium, Lagos before calling it quits. Still, there was no time to mourn the old group, as new ones were constantly forming at St. Gregory’s.
“At Greg’s I started jamming with Soga Benson, my cousin Skid, and Ben Bruce,” Amenechi says. “We all just used to jam, write, explore and perform where we could.”
“Martin and I were kind of rivals since he was in KC and I was in Greg’s,” Benson remembers. “But when Martin came to Greg’s, we became very, very close.”
Soga Benson
(lead guitar, vocals)
Benson kept pursuing the hobby and remained busy as a guitar for hire, joining Ofege for their second and third albums in 1975 and 1977. Yet, his main group Grotto had still not yet been in a recording studio until EMI Records—the premier label for afro-rock—took an active interest in 1977.
“Odion Iruoje was the A&R manager at EMI at the time,” Benson says, “and he auditioned us, liked he material and signed us.”
“I remember the Grotto audition, they were a bit cocky, St Gregs boys, they had some material that they thought was great but I felt otherwise. Grotto was a rock group but we needed to get them somewhere original. That was the challenge, not to sound like Ofege or some British rock group, but for them to sound like their authentic self. I was into youth bands at the time; I felt they offered something fresh. Most pros were into reggae, which I hated (not as a genre but in the way it was aped) and youth bands allowed me to experiment; I gave them something and they in turn gave me something, which I could take to the next project. They made me in a way. EMI Nigeria did not really get the emergence of the youth market, they thought I was fooling around with kids’ bands”.
Mr Odion Iruoje
(Resident A&R exec/Producer, EMI Nigeria)
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
More records from Grotto
Label:Odion Livingstone
Cat-No:LIVST004
Release-Date:10.01.2025
Genre:Afrobeat
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grotto - No Title
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grotto - No Title
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grotto - No Title
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grotto - No Title
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grotto - No Title
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grotto - No Title
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grotto - No Title
This album was the vintage rock heads response to the contemporary sounds of Jazz Funk, Fusion and Boogie.
Adapting to the tastes of the times - as well as their own maturing musical sensibilities - Grotto started transitioning from psych rock towards sleeker, more dancefloor-friendly grooves.
“As I grew older I think I got a bit jazzier,” Benson says. “I also listened to Curtis Mayfield, James Brown, Isley Brothers, Prince and a lot of funk groups from that era.”
“Hard rock was the content of the first album,” Amenechi agrees, “and funk / jazz / R&B the focus of album number two. Especially with the late Toma Mason Jr. joining as bassist.”
The group’s second album, ‘Grotto II: Wait… No Hurry’ (released in 1979) reflected the growing sophistication of its members’ musical outlook. Fat, funky bass grooves rubbed shoulders with jazzy flute lines; space-age synthesizer tones punctuated good, old-fashioned crunchy rock riffs.
A favourite of DJs worldwide.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Adapting to the tastes of the times - as well as their own maturing musical sensibilities - Grotto started transitioning from psych rock towards sleeker, more dancefloor-friendly grooves.
“As I grew older I think I got a bit jazzier,” Benson says. “I also listened to Curtis Mayfield, James Brown, Isley Brothers, Prince and a lot of funk groups from that era.”
“Hard rock was the content of the first album,” Amenechi agrees, “and funk / jazz / R&B the focus of album number two. Especially with the late Toma Mason Jr. joining as bassist.”
The group’s second album, ‘Grotto II: Wait… No Hurry’ (released in 1979) reflected the growing sophistication of its members’ musical outlook. Fat, funky bass grooves rubbed shoulders with jazzy flute lines; space-age synthesizer tones punctuated good, old-fashioned crunchy rock riffs.
A favourite of DJs worldwide.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
More records from Odion Livingstone
Label:Odion Livingstone
Cat-No:ODILIV001
Release-Date:31.01.2025
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Livy Ekemezie - Get It Down
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Livy Ekemezie - Holiday Action
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Livy Ekemezie - I Wan' My Bab' Back
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Livy Ekemezie - Friday Night
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Livy Ekemezie - Classic Lover
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Livy Ekemezie - Night Party
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Livy Ekemezie - Delectation
Livy Ekemezie’s Friday Night is widely recognised by DJs and afro-funk aficionados as a UFO (Unidentified Flying Object) grail record. It is one of those rare dance music albums that sounds like a record of its’ time but also has a timeless quality that makes each listen an immensely rewarding experience.
Fueled by teen spirit, every track slaps leaving little or no opportunity to skip. The song concepts circle around sweaty, afropolitan nightly excursions into the nightclubs of Aba, Port Harcourt and Lagos. But they could easily have been the soundtrack to Basquiat and Grace Jones grooving to DJ Larry Levan at Studio 54.
Digital Multitrack Sound Production combined with 80s synths and keyboards ushered in a new era. But what made this different is the bombastic but never overbearing "mélange" of slapping, funky bass lines, choppy synths, crazy, carefree vocals contributing to an intense dance-driven musical experience.
Livy and his friend Franklin Izuora teamed up with Jules Elong a seasoned keyboardist to create the LP in 1982, Franklin was a student in the US and already the experience of producing an album (Be Nice To The People, 1977, EMI) with the soundmaster, Odion Iruoje in the teenage afro-rock band, Question Mark. This gave Livy the confidence to leave most of the creative direction to him.
Livy had completed his secondary school cursus and was waiting to attend college. Jules Elong’s role was to make the record sound professional. The Quincy Jones influence created a reference point, Goddy Oku’s studio, Godiac was the mother ship for this 80s dance music masterpiece.
A1 - Get It Down
A2 - Holiday Action
A3 - I Wan' My Bab' Back
B1 - Friday Night
B2 - Classic Lover
B3 - Night Party
B4 - Delectation
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Fueled by teen spirit, every track slaps leaving little or no opportunity to skip. The song concepts circle around sweaty, afropolitan nightly excursions into the nightclubs of Aba, Port Harcourt and Lagos. But they could easily have been the soundtrack to Basquiat and Grace Jones grooving to DJ Larry Levan at Studio 54.
Digital Multitrack Sound Production combined with 80s synths and keyboards ushered in a new era. But what made this different is the bombastic but never overbearing "mélange" of slapping, funky bass lines, choppy synths, crazy, carefree vocals contributing to an intense dance-driven musical experience.
Livy and his friend Franklin Izuora teamed up with Jules Elong a seasoned keyboardist to create the LP in 1982, Franklin was a student in the US and already the experience of producing an album (Be Nice To The People, 1977, EMI) with the soundmaster, Odion Iruoje in the teenage afro-rock band, Question Mark. This gave Livy the confidence to leave most of the creative direction to him.
Livy had completed his secondary school cursus and was waiting to attend college. Jules Elong’s role was to make the record sound professional. The Quincy Jones influence created a reference point, Goddy Oku’s studio, Godiac was the mother ship for this 80s dance music masterpiece.
A1 - Get It Down
A2 - Holiday Action
A3 - I Wan' My Bab' Back
B1 - Friday Night
B2 - Classic Lover
B3 - Night Party
B4 - Delectation
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Label:Odion Livingstone
Cat-No:ODILIV003
Release-Date:10.01.2025
Genre:Afrobeat
Configuration:LP
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Label:Odion Livingstone
Cat-No:ODILIV003
Release-Date:10.01.2025
Genre:Afrobeat
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Apples - Mother
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Apples - Deep Funk
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Apples - Try Me
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Apples - Lay On The Ground
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Apples - Mind Twister
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Apples - Don't Drive Me Out
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Apples - You
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Apples - Time For Me To Go
70s Nigerian psychedelic soul rock to be filed next to Shuggie Otis’ Inspiration Information.
Some albums are more than the sum of their parts. This is one of them. Nothing quite explains the luscious layers of sounds. The wholesome feeling that exudes from the first note to the last. Shuggie Otis meets Grotto/Ofege is what comes to mind.
The band was a ragtag band of teenage musicians who hung around Federal Palace Hotel in classy Victoria Island, listening to the resident band, led by the incomparable Yom Yem with Papa Doe and Gboyega Adelaja on keys. Frank who had some experience stringing around studios in Lagos, approached the George Veira (Vocals, Guitar), Nadi brothers (Clifford and Gerrard) with the idea of making a record. Odion Iruoje had enjoyed massive success with Ofege and Frank knew he might be open to the idea of producing the band.
“It happened very fast, as Georges had songs already written or half completed. We started jamming with a few gigs at Surulere Night Club, which was run by Tee Mac at the time. Odion heard the material and did not need any convincing. We Then we went into the studio to lay the vocals, drums and guitars. The keys and further production was done in London.
“My routine at the time was to finish records in London, at Abbey Road Studios. It was the best way to get the sound I wanted and allowed my use London based musicians which brought a special flavour. I liked to lay the rhythm tracks and vocals at our Wharf road studio in Lagos. That was the core of the work”.
Mr Odion Iruoje
(Resident A&R exec/Producer, EMI Nigeria)
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Some albums are more than the sum of their parts. This is one of them. Nothing quite explains the luscious layers of sounds. The wholesome feeling that exudes from the first note to the last. Shuggie Otis meets Grotto/Ofege is what comes to mind.
The band was a ragtag band of teenage musicians who hung around Federal Palace Hotel in classy Victoria Island, listening to the resident band, led by the incomparable Yom Yem with Papa Doe and Gboyega Adelaja on keys. Frank who had some experience stringing around studios in Lagos, approached the George Veira (Vocals, Guitar), Nadi brothers (Clifford and Gerrard) with the idea of making a record. Odion Iruoje had enjoyed massive success with Ofege and Frank knew he might be open to the idea of producing the band.
“It happened very fast, as Georges had songs already written or half completed. We started jamming with a few gigs at Surulere Night Club, which was run by Tee Mac at the time. Odion heard the material and did not need any convincing. We Then we went into the studio to lay the vocals, drums and guitars. The keys and further production was done in London.
“My routine at the time was to finish records in London, at Abbey Road Studios. It was the best way to get the sound I wanted and allowed my use London based musicians which brought a special flavour. I liked to lay the rhythm tracks and vocals at our Wharf road studio in Lagos. That was the core of the work”.
Mr Odion Iruoje
(Resident A&R exec/Producer, EMI Nigeria)
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Label:Odion Livingstone
Cat-No:LIVST004
Release-Date:10.01.2025
Genre:Afrobeat
Configuration:LP
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Label:Odion Livingstone
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Genre:Afrobeat
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1
grotto - No Title
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grotto - No Title
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grotto - No Title
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grotto - No Title
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grotto - No Title
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grotto - No Title
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grotto - No Title
This album was the vintage rock heads response to the contemporary sounds of Jazz Funk, Fusion and Boogie.
Adapting to the tastes of the times - as well as their own maturing musical sensibilities - Grotto started transitioning from psych rock towards sleeker, more dancefloor-friendly grooves.
“As I grew older I think I got a bit jazzier,” Benson says. “I also listened to Curtis Mayfield, James Brown, Isley Brothers, Prince and a lot of funk groups from that era.”
“Hard rock was the content of the first album,” Amenechi agrees, “and funk / jazz / R&B the focus of album number two. Especially with the late Toma Mason Jr. joining as bassist.”
The group’s second album, ‘Grotto II: Wait… No Hurry’ (released in 1979) reflected the growing sophistication of its members’ musical outlook. Fat, funky bass grooves rubbed shoulders with jazzy flute lines; space-age synthesizer tones punctuated good, old-fashioned crunchy rock riffs.
A favourite of DJs worldwide.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Adapting to the tastes of the times - as well as their own maturing musical sensibilities - Grotto started transitioning from psych rock towards sleeker, more dancefloor-friendly grooves.
“As I grew older I think I got a bit jazzier,” Benson says. “I also listened to Curtis Mayfield, James Brown, Isley Brothers, Prince and a lot of funk groups from that era.”
“Hard rock was the content of the first album,” Amenechi agrees, “and funk / jazz / R&B the focus of album number two. Especially with the late Toma Mason Jr. joining as bassist.”
The group’s second album, ‘Grotto II: Wait… No Hurry’ (released in 1979) reflected the growing sophistication of its members’ musical outlook. Fat, funky bass grooves rubbed shoulders with jazzy flute lines; space-age synthesizer tones punctuated good, old-fashioned crunchy rock riffs.
A favourite of DJs worldwide.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Label:Odion Livingstone
Cat-No:LIVST006
Release-Date:10.01.2025
Genre:Afrobeat
Configuration:LP
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Genre:Afrobeat
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Gboyega Adelaja - Funky City
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Gboyega Adelaja - Baby, My Love For You
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Gboyega Adelaja - Ere Aladun
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Gboyega Adelaja - Adua (Prayer)
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Gboyega Adelaja - Colourful Environment
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Gboyega Adelaja - I Still Love You
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Gboyega Adelaja - Agberede
Fresh from touring with Hugh Masekela (“The Boy’s Doin’ It”), Gboyega Adelaja goes into the lab to drop heavy keyboard science on his Moog and Fender Rhodes. Its Joe Sample meets the Afro Funk of BLO. With names like Jake Sollo on guitars, Mike Odumusu (BLO, Osibisa) on bass guitar and Gasper Lawal on percussion. This is a top quality, Afro-Funk, all-stars affair that shines from the inspired interventions, masterly arrangements to the sublime production.
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2LP
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Label:Odion Livingstone
Cat-No:LIVST005
Release-Date:10.01.2025
Genre:Afrobeat
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Genre:Afrobeat
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v.a. - No Title
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Humphrey Aniakor started Duomo Sounds after a trip to Milan. The idea was to produce a new sound for the emerging generation. A sleek funky but refined, Nigerian disco sound. This compilation captures all of that intention with a broad array of artistes. The music is sometimes sung in local Nigerian languages and sometimes in English but always with an African Accent. Modern grooves for an African market.
After several months spent hanging out at studios in Los Angeles and New York, observing the musicians, producers and engineers at work. He went to nightclubs to study what kind of sonic textures made the crowd move. And when he felt he had gotten the hang of it, he returned to Nigeria to set up his record label. A label that would showcase the au courant, cosmopolitan face of the Nigeria’s emerging young generation. That would encompass the boundlessness of imagination, focus, persistence and craftsmanship. That would deliver music that touched the soul.
There was hardly a shortage of available musical talent by 1980, as Duomo was preparing to launch. The seventies had seen a massive flowering of bands offering a wide array of sounds and styles. But 1980 proved to be the year that would change the topography of the music landscape and its approach to packaging talent. Artistes like Mike Umoh (erstewhile drummer with Bongos Ikwue and the Groovies), Bindiga (Ghanian afrofunk musicians), Christy Ogbah (who worked as a policewoman) bring their personal artistry to create the new sound.
And he would call it—what else?—Duomo. Duomo Sounds Limited.
This combination created high-quality Nigerian music but it also marked the end of bands as the focal point for the popular music marketing. After Okotie’s breakthrough, it became clear that the eighties would be the era of the solo artist. And this would lead to the fracture of established bands as members opted to roll the dice on solo careers.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
After several months spent hanging out at studios in Los Angeles and New York, observing the musicians, producers and engineers at work. He went to nightclubs to study what kind of sonic textures made the crowd move. And when he felt he had gotten the hang of it, he returned to Nigeria to set up his record label. A label that would showcase the au courant, cosmopolitan face of the Nigeria’s emerging young generation. That would encompass the boundlessness of imagination, focus, persistence and craftsmanship. That would deliver music that touched the soul.
There was hardly a shortage of available musical talent by 1980, as Duomo was preparing to launch. The seventies had seen a massive flowering of bands offering a wide array of sounds and styles. But 1980 proved to be the year that would change the topography of the music landscape and its approach to packaging talent. Artistes like Mike Umoh (erstewhile drummer with Bongos Ikwue and the Groovies), Bindiga (Ghanian afrofunk musicians), Christy Ogbah (who worked as a policewoman) bring their personal artistry to create the new sound.
And he would call it—what else?—Duomo. Duomo Sounds Limited.
This combination created high-quality Nigerian music but it also marked the end of bands as the focal point for the popular music marketing. After Okotie’s breakthrough, it became clear that the eighties would be the era of the solo artist. And this would lead to the fracture of established bands as members opted to roll the dice on solo careers.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
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Label:Rawax
Cat-No:RX-01LP
Release-Date:07.02.2025
Genre:Techno
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Bandulu - Long Count
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Bandulu - Episode 7
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Bandulu - Recent Past
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Bandulu - Serial Operations
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Bandulu - Paranormal Channels
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Bandulu - Contingency
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Bandulu - Ishmalite
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Bandulu - Advirus
RAWAX proudly presents BANDULU 's outstanding longplayer called Repercussions.
Originally released on Foundation Sound Works in 1996! The 2025 version on RAWAX includes a new mastering.
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Originally released on Foundation Sound Works in 1996! The 2025 version on RAWAX includes a new mastering.
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DE - 22113 Hamburg
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Label:Mr Bongo
Cat-No:MRBLP278
Release-Date:07.02.2025
Genre:World Music
Configuration:2LP
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1
Ousmane Kouyaté & Ambassadeurs Internati - Kefimba
2
Bouba et Sokona Sacko - Mamaniya
3
Les Ambassadeurs du Motel de Bamako - Get Up James
4
Allata Broulaye - Moussokéléyato
5
Tentemba Jazz du Mali - Yayoroba
6
Tjiwara Band de Kati - Kogola
7
Rail Band - Massaré Mousso
8
Les Ambassadeurs du Motel de Bamako - Matou Kagni
9
Mystère Jazz de Tombouctou - Sidi Yahia
10
Allata Broulaye - Yayoroba
11
Les Messagers du Mali - Diamana Diarra
12
Tjiwara Band de Kati - Midnight Hour
Following the success of ‘The Original Sound of Mali’ compilation, we return with another explorative delve into the wonders of Malian music compiled by French writer, journalist and Grammy-nominated compiler Florent Mazzoleni and Mr Bongo’s very own David Buttle. Restoring, reissuing and contextualising iconic tracks from Ousmane Kouyaté & Ambassadeurs Internationaux, Rail Band, Les Messagers du Mali, Mystère Jazz de Tombouctou and many more, the second compilation in this series dives ever further into the richness of post-independence music emanating out of Mali. One in which traditional foundations and instrumentation, blended with modern musical advances and influence.
Following Mali’s independence, after ten years of maturation, the 1970s saw modern Malian culture revealed to the world through musical anthologies and overviews of national and regional productions. It was a remarkably fertile period of the country’s musical history, with state-sponsored bands and orchestras now able to be documented and recorded by sound engineers.
Mali has always had a diverse storytelling tradition through music, with each province and ethnic group having its own unique character and nuances. As influences and sounds from the West drifted over the Atlantic, Malian musicians began hearing artists like John Lee Hooker, Wilson Pickett, Johnny Pacheco, Celia Cruz and James Brown. Elements and ideas from blues, soul, rock and funk led to bands covering artists they’d heard from these genres. The Tjiwara Band de Kati’s raw cover version of Pickett’s soul / R&B classic ‘In The Midnight Hour’ and the James Brown funk-channelling cut ‘Get Up James’ from Les Ambassadeurs du Motel de Bamako, are two such examples featured on this compilation.
Most bands also relied on playing in hotels in Mali’s capital, Bamako, which naturally became where they honed their sound. With guests wanting to hear the influence of foreign styles and modern instrumentation becoming more available, this fusion of Western ideas with traditional Malian rhythms and organic instruments led to a one-of-a-kind musical excellence.
The second volume in this series, captures the raw energy of Mali in this period, with a spread of sounds that radiated from Mali’s newly recorded musicians. The afrobeat rhythms of Ousmane Kouyaté and mesmerising Malian classic from Bouba and Sokona Sacko, sitting side by side with the swirling hypnotism of Tentemba Jazz du Mali and a ngoni-infused, percussive dancer from Allata Broulaye. Elsewhere, the deep African desert music of Mystère Jazz de Tombouctou rubs shoulders with the grandeur of the Rail Band, powered by Salif Keita’s iconic vocals.
Those are just a handful of the recordings highlighted on this compilation, which includes an extensive booklet looking at the history and relevance of the tracks written by Florent Mazzoleni. With so much enchanting, deep and mind-expanding music coming out of Mali in this period, ‘The Original Sound of Mali 2’ is a perfect aid to discovering the richness of music this country has to offer.
Vinyl LP housed in a gatefold sleeve with A5 booklet liner notes.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Following Mali’s independence, after ten years of maturation, the 1970s saw modern Malian culture revealed to the world through musical anthologies and overviews of national and regional productions. It was a remarkably fertile period of the country’s musical history, with state-sponsored bands and orchestras now able to be documented and recorded by sound engineers.
Mali has always had a diverse storytelling tradition through music, with each province and ethnic group having its own unique character and nuances. As influences and sounds from the West drifted over the Atlantic, Malian musicians began hearing artists like John Lee Hooker, Wilson Pickett, Johnny Pacheco, Celia Cruz and James Brown. Elements and ideas from blues, soul, rock and funk led to bands covering artists they’d heard from these genres. The Tjiwara Band de Kati’s raw cover version of Pickett’s soul / R&B classic ‘In The Midnight Hour’ and the James Brown funk-channelling cut ‘Get Up James’ from Les Ambassadeurs du Motel de Bamako, are two such examples featured on this compilation.
Most bands also relied on playing in hotels in Mali’s capital, Bamako, which naturally became where they honed their sound. With guests wanting to hear the influence of foreign styles and modern instrumentation becoming more available, this fusion of Western ideas with traditional Malian rhythms and organic instruments led to a one-of-a-kind musical excellence.
The second volume in this series, captures the raw energy of Mali in this period, with a spread of sounds that radiated from Mali’s newly recorded musicians. The afrobeat rhythms of Ousmane Kouyaté and mesmerising Malian classic from Bouba and Sokona Sacko, sitting side by side with the swirling hypnotism of Tentemba Jazz du Mali and a ngoni-infused, percussive dancer from Allata Broulaye. Elsewhere, the deep African desert music of Mystère Jazz de Tombouctou rubs shoulders with the grandeur of the Rail Band, powered by Salif Keita’s iconic vocals.
Those are just a handful of the recordings highlighted on this compilation, which includes an extensive booklet looking at the history and relevance of the tracks written by Florent Mazzoleni. With so much enchanting, deep and mind-expanding music coming out of Mali in this period, ‘The Original Sound of Mali 2’ is a perfect aid to discovering the richness of music this country has to offer.
Vinyl LP housed in a gatefold sleeve with A5 booklet liner notes.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Label:Efficient Space
Cat-No:ES041
Release-Date:07.02.2025
Genre:Dub/Reggae
Configuration:LP Excl
Barcode:4251804184540
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Label:Efficient Space
Cat-No:ES041
Release-Date:07.02.2025
Genre:Dub/Reggae
Configuration:LP Excl
Barcode:4251804184540
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1
Ali Omar - Hashish
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2
Ali Omar - The Last Straw
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Ali Omar - Nu Stone Groove
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4
Ali Omar - On Release
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5
Ali Omar - Poor Man Beggar Man Thief (Feat Kye)
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Ali Omar - Suicide Bomber
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7
Ali Omar - Roll Up
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Ali Omar - For Love's Sake
Tracklist:
01. Hashish
02. The Last Straw
03. Nu Stone Groove
04. On Release
05. Poor Man Beggar Man Thief (Feat Kye)
06. Suicide Bomber
07. Roll Up
08. For Love's Sake
Short info:
Efficient Space honours the memory of producer and MC Ali Omar with Hashish Hits, a posthumous selection from the dub rebel’s self-released discography.
One of ten children in working-class Liverpool, Omar drew deep influence from his father's Arabic heritage—a thread central to his identity and sample origins. After art school and a spell clubbing during Manchester's halcyon days, he relocated to Sydney, where he co-founded the blunted downbeat duo Atone with fellow British expatriate Andy Fitzgerald. As an MC, he infiltrated the city’s house, dub, jungle, and bass circuits, becoming a regular fixture at the Bentley Bar, where he commanded the mic with his versatile, rumbling baritone and charisma.
Freakishly talented in the studio, Omar was a pioneer of the Akai sampler and Atari, deftly recording live sessions straight to DAT. Drawing on industry insights from his sister, Merseybeat firebrand Beryl Marsden—who supported The Beatles on their final UK tour and was signed to Decca and Columbia—the non-conformist sought to build a self-sufficient business model. Between 1998 and 2004, he independently issued four albums on CD through his Hashish Studios imprint, hustling copies directly to local record stores and live shows for instant returns, even hand-sewing screen-printed hessian sleeves for his final release.
Uncompromising in his principles and refusing to suffer fools or charlatans, Omar relished the opportunity to collaborate with those who embodied the same spirit. Hashish Hits offers a snapshot of his inner sanctum—Fitzgerald on the opening track's billowing smoke stacks, the serpentine vocals of Gina Mitchell and the magic hands of mixer Louis Mitchell on 'On Release,' and Wicked Beat Sound System’s Kye on 'Poor Man Beggar Man Thief'. Meanwhile, 'Suicide Bomber' smoulders with the tension of a lost Muslimgauze relic, as the instructional 'Roll Up' and 'The Last Straw' spiral deeper into Omar’s signature production vortex—where space stretches in slow motion and walls reverberate with ricocheting delay.
A true icon of Sydney’s underground scene, the larger-than-life Omar passed away on 23 June 2009 after a valiant battle with cancer. He is remembered for his assertive spirit, larrikin humour, wild anarchic personality, and enduring mantra: “Love and live your life”.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
01. Hashish
02. The Last Straw
03. Nu Stone Groove
04. On Release
05. Poor Man Beggar Man Thief (Feat Kye)
06. Suicide Bomber
07. Roll Up
08. For Love's Sake
Short info:
Efficient Space honours the memory of producer and MC Ali Omar with Hashish Hits, a posthumous selection from the dub rebel’s self-released discography.
One of ten children in working-class Liverpool, Omar drew deep influence from his father's Arabic heritage—a thread central to his identity and sample origins. After art school and a spell clubbing during Manchester's halcyon days, he relocated to Sydney, where he co-founded the blunted downbeat duo Atone with fellow British expatriate Andy Fitzgerald. As an MC, he infiltrated the city’s house, dub, jungle, and bass circuits, becoming a regular fixture at the Bentley Bar, where he commanded the mic with his versatile, rumbling baritone and charisma.
Freakishly talented in the studio, Omar was a pioneer of the Akai sampler and Atari, deftly recording live sessions straight to DAT. Drawing on industry insights from his sister, Merseybeat firebrand Beryl Marsden—who supported The Beatles on their final UK tour and was signed to Decca and Columbia—the non-conformist sought to build a self-sufficient business model. Between 1998 and 2004, he independently issued four albums on CD through his Hashish Studios imprint, hustling copies directly to local record stores and live shows for instant returns, even hand-sewing screen-printed hessian sleeves for his final release.
Uncompromising in his principles and refusing to suffer fools or charlatans, Omar relished the opportunity to collaborate with those who embodied the same spirit. Hashish Hits offers a snapshot of his inner sanctum—Fitzgerald on the opening track's billowing smoke stacks, the serpentine vocals of Gina Mitchell and the magic hands of mixer Louis Mitchell on 'On Release,' and Wicked Beat Sound System’s Kye on 'Poor Man Beggar Man Thief'. Meanwhile, 'Suicide Bomber' smoulders with the tension of a lost Muslimgauze relic, as the instructional 'Roll Up' and 'The Last Straw' spiral deeper into Omar’s signature production vortex—where space stretches in slow motion and walls reverberate with ricocheting delay.
A true icon of Sydney’s underground scene, the larger-than-life Omar passed away on 23 June 2009 after a valiant battle with cancer. He is remembered for his assertive spirit, larrikin humour, wild anarchic personality, and enduring mantra: “Love and live your life”.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Label:Bureau B
Cat-No:BB3952
Release-Date:07.02.2025
Configuration:LP
Barcode:4015698180763
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Cat-No:BB3952
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Configuration:LP
Barcode:4015698180763
1
Luigi Ceccarelli - Vientiane
2
Gin no nami - Whispers Of Chikurin
3
Akira Mitake - Yasha
4
Akira Mitake - Modernism
5
Individual Sensitivity - Greece Ambientale
6
Steve Shehan - Evening In The Sahara
7
Private Joke - Peaceful Traffic
8
Adriano Maria Vitali - Velvet Blue Circles
9
Masami Tsuchiya - Nevermind
10
Akira Mitake - Spectrum
11
Gil Mellé - Mindscape
12
Gruppo Sound - African Interlude II
13
Ferris Wheel - Shipping Out
Collector, seeker and storyteller Charles Bals brings his curatorial finesse to Hamburg"s Bureau B with "Ambientale", a journey into otherworldly sounds from the years 1983 - 2000. Drifting effortlessly between digital exoticism, mellow fusion, new age groove and library electronics, the pieces range from largely obscure to utterly un-google-able, and coalesce into a stunning soundtrack to tranquil seas, desert sand and starlit skies. Cinematic & enigmatic, "Ambientale" is a stranger you"ve only just met but can"t stop thinking about.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Label:Unknown Deetroit
Cat-No:UDR999
Release-Date:31.01.2025
Genre:Detroit House
Configuration:12"
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Cat-No:UDR999
Release-Date:31.01.2025
Genre:Detroit House
Configuration:12"
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1
Deetroit - One Chord One Love
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2
Deetroit - 999
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3
Deetroit - Wally Dorf
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Deetroit - Basic Communique
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Deetroit - What Did You Do?
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Deetroit - Deep Discoveries
The infamous and elusive DEETROIT gives another view into the deep unknown with 6 untitled pieces of textured chords, swinging rhythms and dubbed out bliss reminiscent of a vibe somewhere between BASIC CHANNEL, MIKE HUCKABY & RICK WADE whilst staying true to the OG sound we love.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Label:Tunes Delivery
Cat-No:TUNESDWAX002
Release-Date:28.03.2025
Genre:Funk
Configuration:LP
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Cat-No:TUNESDWAX002
Release-Date:28.03.2025
Genre:Funk
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1
LTF - At The Pier
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2
LTF - Cool Steppin'
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3
LTF - Sabbatical
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4
LTF - Star Drops
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5
LTF - Love Like A Man (LTF Edit)
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6
LTF - Bokeh
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7
LTF - Burn It Down
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LTF - Star Drops (Rockid Sound Machine Remix)
Scruscru has launched a new label called Tunes Delivery and it is back with another banger here in the former of LTF's Fine Tuning album. It comes hot on the heels of some sublime Soviet jazz-funk sample madness on previous works and is another production masterclass. These are deep-cut funk sounds with cooling organ chords, hints of Money Mark vibes and psyched-out synths, wah-wah guitars and plenty of rawness to keep things authentic and timeless. The jazzy flutes of 'Bokeh' make it one of our favourites here but there isn't a single bad jam, truth be told.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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12"
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Label:Dance Mutha Records
Cat-No:DMR002V
Release-Date:14.02.2025
Genre:Chicago House
Configuration:12"
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Cat-No:DMR002V
Release-Date:14.02.2025
Genre:Chicago House
Configuration:12"
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1
Mike Dunn - I Wanna B House (Original Demo Mixx)
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2
Mike Dunn - I Wanna B House (Johnny Aux Edit)
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3
Mike Dunn - I'm The Houze
Dance Mutha Records continues with I Wanna B House, recorded between 88-91 by the Chicago master Mike Dunn. I Wanna B House comes with an edit from Johnny Aux (one half of Paranoid London) and another straight up acid track I'm The Houze.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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DE - 22113 Hamburg
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Label:Rescan Records
Cat-No:RESCAN03
Release-Date:31.01.2025
Genre:House
Configuration:12"
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Label:Rescan Records
Cat-No:RESCAN03
Release-Date:31.01.2025
Genre:House
Configuration:12"
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1
Viewfinder - Solace
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2
Viewfinder - Let Go
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Viewfinder - Roxtone
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4
Mihail P - Natural High
‘The Weightless EP’ is Viewfinder’s third release on Rescan Records. Side A offers two straight-up house tracks featuring sampled percussion & stabs. The flip side takes a techno turn, with ‘Roxtone’ pushing the BPM to the EP’s peak. Mihail P provides the fourth track ‘Natural High’ – expect breaks, bleeps and ethereal pads.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
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Liebigstrasse 2-20
DE - 22113 Hamburg
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