Vinyl Sale World Music (while supplies last)
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'Buena Vista Social Club' is both the name given to this extraordinary group of musicians and the album, recorded in just seven days in 1996 in Havana's 1950s vintage EGREM studios. It was clear from the atmosphere of the recording sessions that something very special was taking place. However, no one could have predicted that Buena Vista Social Club would become a worldwide phenomenon - awarded a Grammy in 1997 and, at 8 million copies, outselling any other record in the same genre. The acclaim of the original album has elevated the artists (including Ibrahim Ferrer, Ruben Gonzalez & Omara Portuondo) to superstar status, inspired an award-winning film by Wim Wenders, and has contributed to popularising Cuba's rich musical heritage. Produced by Ry Cooder for World Circuit, the timeless quality of the music and the sheer verve of the veteran performers have ensured that this will go down as one of the landmark recordings of the 20th century.
To celebrate the 25th Anniversary of the album's recording, producer Ry Cooder and World Circuit's Nick Gold have gone back to the original tapes and into the archive to produce this Deluxe Remaster package, featuring previously unheard tracks from the original 1996 recording sessions, previously unseen photos, and new liner notes.
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"Alfredito 'Sabor' Linares is a globetrotting pianist, composer, bandleader, and producer from Lima, Peru with a long, prolific career in hot Latin music spanning more than half a century. Though Linares has come to recent international fame through his work with William 'Quantic' Holland, he was already quite popular and famous in his adopted countries of Colombia and Venezuela in the ‘70s and '80s during the salsa boom. However, his career began in Lima, backing timbalero Ńico Estrada at age 17 in 1961, and Alfredito's first notable recording as a sideman was a few years later on the now legendary El Combo de Pepe album for IEMPSA/Odeon.
Subsequently Linares would advance his career by recording two fabulous records under his own capable leadership as Alfredo Linares Y Su Sonora at the end of the decade for the MAG label. These releases capitalized on recent developments in New York Latin music, namely Latin jazz, boogaloo, descarga (jam session) and what would later be marketed as 'salsa' with roots in the Cuban guaguancó and guaracha genres. One can hear direct inspiration coming from Joe Cuba, Ricardo Ray, and Eddie Palmieri, especially on the first album, El Pito, and yet by the second record, there are plenty of original tunes as well. More importantly there is a 'swing' and assertiveness to the playing (and arrangements) that prove every bit as authentic, tough and danceable as their New York inspirations . . . .
That special 'swing' also emanated from Linares' ace backing band, which happened to be a talented stable of MAG studio musicians who all understood Cuban and jazz music: percussionists Mario Allison and Coco Lagos, bassist Joey di Roma, Kiko Fuentes, and Carlos Muńoz on lead vocals and Melcochita on coro (vocal chorus). According to Linares, the studio band was 'open-ended, some musicians came some days, others on other days -- Nilo Espinoza on saxophone, Betico Salas and Tito Chicoma on trumpets. Otto de Rojas played piano, and so did Charlie Palomares, who played vibraphone. Another good musician was guitarist Carlos Hayre.' Though the recordings were cut 'live in the studio' and many were basically composed on the spot, the intrinsic strength and maturity of the performances on Yo Traigo Boogaloo stand the test of time as one of Peru's most important contributions to tropical music across the decades, establishing Alfredito Linares as a master of the idiom and serving as a harbinger for great things to come for him in Colombia and Venezuela..." --Pablo E Yglesias DJ Bongohead of Peace & Rhythm
A1. “Boogaloo En Ambiente” A2. “La Sonora Llegó” A3. “Como Yo No Hay Dos” A4. “Peruvian Guaguancó” A5. “Congalanque”
B1. “Yo Traigo Boogaloo” B2. “Probándolo Se Sabe” B3. “Linare's Blue's” B4. “Sabor Tropical” B5. “Tutu Tata”
Matata (which means “trouble” in Swahili) was an African funk band who took nightclubs by storm and jammed with some of the biggest giants in soul, jazz and Latin music. The band had its roots in the Congo although it formed in Kenya in the mid-sixties. Matata was based around the famous ‘Starlight Club’ in Nairobi. The group retained elements of traditional music by incorporating instruments such as the ‘ngoma’ (a large drum) and an eight stringed guitar-harp called the ‘nyatiti’…this brought something different to their style and made for a unique sound. Each of the songwriters sang lead in their native tongues and this meant they used vocals in three African languages (next to the songs sung in English). As the sixties drew to an end Matata (sometimes also known as ‘Air Fiesta Matata’) were regulars on Kenyan television and enjoyed a national following.
In 1971 when the BBC held a competition to find the best band in Africa, Matata submitted a song and came in first. They were sent to visit London, performed at the BBC and stayed around to do some gigs (after years of playing at the ‘Starlight Club’ the band was tight and well-rehearsed). The timing was perfect because there was a serious cross-fertilisation taking place between musicians from many different genres and nationalities…and this brought such vibrancy to cultural life in the capital. Matata arrived in London just as Assagai and Osibisa – groups led by African musicians who also played a fusion of styles – released their debut albums, paving the way for their peers.
The band signed a two-album deal with the UK-based label President Records (who would go on to release Matata’s ‘Air Fiesta’ in 1972 & ‘Independence’ in 1974). Several singles also came out of this and Matata scored hits in the Netherlands, Belgium and France. With a wealth of material and a dynamic live act to its name they would play packed gigs every night. The group was a visual, as well as musical feast and quickly became favorites at several well-known London nightclubs. Tours were numerous and the band played all over the world including having residencies in the UK, Norway, Switzerland, Hong Kong & Germany (where they got the chance to jam with Miles Davis in Cologne). There would be no further Matata recordings and sadly the band split after releasing their second album. Luckily, we are left with the unique documents that are ‘Air Fiesta’ and ‘Independence’.
The album we are presenting you today (Independence from 1974) comes swinging right out the gate with a set of no less than TWELVE monster tunes. It’s a musical gumbo full of irresistible rhythms, punchy blasts, snappy vocal hooks, reverb-laden ‘Santana’ guitar solos, a little reggae and Afrobeat filled horn arrangements, plus everything else needed to get dancers working overtime. On ‘Independence’ the group leaned mightily on James Brown for their groove, and laid out a heavy, rock solid variation on JBs funk with an African percussion base of fluid congas and bongos at the core.
Independence is a quintessential record that every serious collector or fan needs to have in his/her collection. Matata’s marriage of percolating African rhythms delivered one butt-shaking, finger-popping club hit after another that can still fill a dance floor to this day. Hard funky soul with an Afrobeat backbone…it’s all about the grooves here!
Originally released in 1974 on President Records, Tidal Waves Music now proudly presents the first official reissue of this seminal Afrobeat/Afrofunk album. This unique record comes as a deluxe 180g vinyl edition (strictly limited to 1000 copies worldwide) with obi strip and featuring the original artwork. This reissue also comes with an insert featuring pictures of the band and extensive liner notes from award winning author John Masouri. Released exclusively for RSD Black Friday 2021.
01 Return to You - 02 Good Good Understanding - 03 Gettin' Together - 04 I Believed Her - 05 Good Samaritan - 06 I Feel Funky - 07 I Don't Have to Worry - 08 Something in Mind - 09 I Want You - 10 Love Is the Only Way - 11 Gimme Some Lovin' - 12 Talkin' Talkin'
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Founder Marie Daulne's mixed cultural roots--Walloon and Bantu (Belgian and Pygmee)--were the stimulus for her musical creation. After studying with the Bantu and in Europe, she organized Zap Mama as an instrument to meld a synthesis of these previously separate traditions. She instantly stood the vocal world on its head by mixing multiple musical styles, performing them with a group of women who created such rhythmic wonder that everyone sat up and took notice. This, their first release, has many tunes with Pygmee yodel and chant, a 16th century Spanish song, a Cuban song, and elements of Syrian songs. It was the first World Music 'hit' selling over 200,000 copies in the US alone. Available for the first time on vinyl. And on magenta splatter color vinyl too!
1. Mupepe 2. Bottom 3. Brrlak! 4. Abadou 5. Take Me Coco 6. Plekete 7. Mizike 8. Babanzele 9. Din Din 10. I Ne Suhe 11. Guzophela 12. Nabombeli Yo 13. Marie-Josee 14. Ndje Mukanie 15. Son Cubano