{"title":"Analog Africa","description":null,"products":[{"product_id":"orchestre-massako-s-t-african-acid-rock-1976-new-lp","title":"Orchestre Massako – S\/T [IMPORT] – New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" data-mce-fragment=\"1\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" data-mce-fragment=\"1\"\u003eThe last time I found myself on the phone with Jean-Christian Mboumba Mackaya known as Mack-Joss - founder of the Mighty Orchestra Massako - I could hear gun-shots in the background. Libreville was upside down following the re-election of president Ali Bongo in August 2016. By the time I was ready to go ahead with this project, Mack-Joss’s phone number had been disconnected, and shortly afterwards I found out that the baobab of Gabonese music had fallen.\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=481985814\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/analogafrica.bandcamp.com\/album\/orchestre-massako-limited-dance-edition-nr-14\"\u003eOrchestre Massako (Limited Dance Edition Nr. 14) by Orchestre Massako\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAn adept of folk rhythms, Mack-Joss’s career as a musician began when he was just 17 of age and he quickly established himself as a staple of Libreville’s nightlife scene, singing in various local bands. By 1966 he had released “Le Boucher”, his first hit which swept the African airwaves and earned him the respect of Franco, the legendary master of Congolese Rumba. Franco´s encouragement helped transform him from a Gabonese singer into an ascendent figure of pan-African culture.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBetween 1968 and 1970 Mack-Joss and his Negro-Tropical immortalised a good number of singles recorded in a makeshift open-air recording studios and in 1971 Gabon armed forces decided to form their own band. Mack-Joss was recruited to become\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ethe band leader and this was the birth of Orchestre Massako which became Gabon’s national orchestra.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAt the end of the 1970s funds were made available to bring recording equipment over from France. Studio Mobile Massako was born and Mack-Joss’s songwriting ability provided hit after hit. The master tapes with the recordings were sent to Paris for mixing and Mack-Joss would personally make the journey to France, carrying the reels in his hand luggage. The vinyl records were then pressed in France and shipped back to Gabon, and to other distributors throughout the continent. About a dozen long play records were recorded between 1978 and 1986 and most were released on Mass Pro, Mack-Joss´s own label. A few of these recordings featured a singer from Guinée Conakry by the name of Amara Touré who had joined Orchestre Massako as a singer in 1980 and had become an important ingredient in the band’s success. His specific voice, impossible not to recognise, left no one unmoved (ask those who listened to the compilation AALP078).\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMack-Joss’s retirement in 1996 marked the end of Orchestre Massako. With a four decades spanned career, his contribution to Gabonese culture cannot be overstated and continues to inspire the respect and devotion of people who knew him.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\" data-mce-fragment=\"1\"\u003ereleased June 3, 2022\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eGraphic Design: Kathrin Remest\u003cbr data-mce-fragment=\"1\"\u003eMastering: Nick Robbins (Soundmastering)\u003cbr data-mce-fragment=\"1\"\u003eLacquers: Frank Merritt (The Carvery)\u003cbr data-mce-fragment=\"1\"\u003eText Editing: Jesse Simon\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eInterviews, Translation and Biography:\u003cbr data-mce-fragment=\"1\"\u003eVolkan Kaya and Samy Ben Redjeb\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSpecial Thanks to:\u003cbr data-mce-fragment=\"1\"\u003eBrake Mackaya\u003cbr data-mce-fragment=\"1\"\u003eand Akira Tanaka (Sambinha)\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDedicated to the memory of\u003cbr data-mce-fragment=\"1\"\u003eJean-Christian Mboumba Mackaya aka Mack-Joss\u003c\/div\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"license-label\" data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv id=\"license\" class=\"info license\" data-mce-fragment=\"1\"\u003e\u003c\/div\u003e","brand":"Analog Africa Records","offers":[{"title":"Default Title","offer_id":42362825900193,"sku":"","price":34.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/a0941645593_16.jpg?v=1660180240"},{"product_id":"various-artists-peru-selvatico-sonic-expedition-into-the-peruvian-amazon-1972-1986-2xlp-import-new-lp","title":"Various Artists – Perú Selvático: Sonic Expedition into the Peruvian Amazon 1972-1986 [2xLP w\/ booklet IMPORT] – New LP","description":"\u003cp\u003e Less than a hundred miles inland from the capital city of Lima lies the great Peruvian jungle, an untamed land of impenetrable forests and endless winding rivers. In its isolated cities, cut off from the fashions of the capital, a unique style of music began to develop, inspired equally by the sounds of the surrounding forests, the roll of the mighty Amazon and Ucayali Rivers, and the rhythms of cumbia picked up from distant stations on transistor radios. With the arrival of electricity, a new generation of young musicians started plugging in their guitars and trading in their accordions for synthesizers: Amazonian cumbia was born.\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2654864161\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/analogafrica.bandcamp.com\/album\/per-selv-tico-sonic-expedition-into-the-peruvian-amazon-1972-1986-analog-africa-no-36\"\u003ePerú Selvático - Sonic Expedition into the Peruvian Amazon 1972-1986 (Analog Africa No.36) by Analog Africa\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003ePowered by fast-paced timbale rhythms, driven by spidery, treble-damaged guitar lines, and drenched in bright splashes of organ, Amazonian cumbia was like a hyperactive distant cousin of surf music crossed with an all-night dance party in the heart of the forest. While many of the genre’s greatest tracks were instrumental, and others were simple celebrations of life in the jungle, the goal of every song was to keep the party going.\u003cbr\u003e\u003cbr\u003eRadio stations in Lima remained unaware of the new electric sounds emanating from the jungle, but a handful of pioneering record producers ventured over the mountain passes to the\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003ecities of Tarapoto, Moyobamba, Pucallpa – even Iquitos, a city reachable only by boat or plane – and lured dozens of bands to the recording studios of the capital to lay down their best tracks. Although many became local hits, few were ever heard outside the Amazonian region... until now.\u003cbr\u003e\u003cbr\u003eWith eighteen tracks from some of the greatest names in Amazonian cumbia, Perú Selvatico is both the improbable soundtrack to a beach party on a banks of the Amazon and a psychedelic safari into the sylvan mysteries of the Peruvian jungle.\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased 2023\u003cbr\u003e\u003cbr\u003eCompilado Por : Samy Ben Redjeb\u003cbr\u003eProductor General : Jorge Alan Pimentel\u003cbr\u003eEscrito Por : James Matos Tuesta\u003cbr\u003eIng. De Grabacion : Michael Graves\u003cbr\u003eTraduccion : Brendan James Flannery\u003cbr\u003eEdicion De Textos : Jesse Simon\u003cbr\u003e\u003cbr\u003eSpecial Thanks To :\u003cbr\u003eJorge Reyes Miranda, Leonardo Vela Rodriguez, Ygor Olaf López Rios, Homero Llerena Velasquez, Luis Artur Alvan Bardales, Margot Marquesta, Ureta Paucar, Walter Paima Vasquez, Dalmace Rios Ruiz, Luis Seijas Pena, Jose Lorenzo Alván Vásquez, Ivan Solsol, Luis Flores, Victor Zela, Adolfo Barrera Rodriguez, Chico Unicornio.\u003cbr\u003e\u003cbr\u003eEste proyecto esta dedicado a la memoria de Jorge Solsol Miranda y Ygor Olaf Lopez Rios\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Analog Africa","offers":[{"title":"Default Title","offer_id":42986175856801,"sku":"","price":34.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/a3095639813_16.jpg?v=1681609211"},{"product_id":"lobo-ary-ary-lobo-1958-1966-import-new-lp","title":"Lobo, Ary – Ary Lobo 1958-1966 [IMPORT] – New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" data-mce-fragment=\"1\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" data-mce-fragment=\"1\"\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" data-mce-fragment=\"1\"\u003e“Whoever has been following the musical movements happening within our culture, must have noticed this young singer hailing from the North of Brazil. An absolute master of Baião, Côco, Batuque and other related musical genres and the owner of an art one hundred percent his own, Ary Lobo is the ideal interpreter of northeastern songs\"\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2643916873\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/analogafrica.bandcamp.com\/album\/ary-lobo-1958-1966-limited-dance-edition-no-19\"\u003eAry Lobo 1958-1966 (Limited Dance Edition No.19) by Analog Africa\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThese words taken from the original liner notes of Ary Lobo’s first LP, “Forró con Ary Lobo” recorded in 1958, are in no way exaggeration. How many Brazilians have been bewitched by his voice nobody can say for sure but what is certain is that it is a voice that could have gone silent forever, as Biographer Elmo Barros explains:\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\"Hailing from Belém do Para in the north of the country, Ary Lobo was ready to launch his campaign on the south of the country and set out for Rio de Janeiro in October of 1955. There he encountered the usual southern biases against singers from the North and it was only after meeting Gadé, a respected pianist, that he was able to secure an audition at Rádio Mauá.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBut the opportunity nearly turned into a disaster as he arrived to that session in such a frail state that he couldn't perform. Insufficient and irregular feeding had affected his breathing\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003emaking it impossible to give his voice the necessary power. Fortunately the audition was postponed and on his second attempt he was able to secure a five month contract with the station were he became known as a Samba singer. As his reputation grew, he was signed To RCA Victor in June of 1956.\"\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe music scene in Rio began catching wind of the newcomer who cultivated the personality of a Northeastern singer with deep roots in Afro-Brazilian heritage. He would kick start the new decade by recording what many describe as his best work, “Aqui mora o ritmo” (Here lives the rhythm) released in 1960. That album was followed a year later by “Cheguei Na Lua” (I arrived on the moon) in which he sang of his passion for space travelling and for the moon in particular.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBut the moon was never going to be enough for Ary Lobo who had a gypsy soul and loved to wander the country, participating in “caravans” (as tours were called back then), performing in concert halls as well as playing in nightclubs, cabarets and bregas; those storied houses where cachaça was free-flowing, where resident prostitutes received their clients, and where the party often lasted until dawn. This demi-monde full of temptations was an inspirational paradise for a bohemian like Ary Lobo but also his fall from grace.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAry Lobo recorded one LP every year until 1966 when he released “Quem É O Campeão?” (Who Is The Champion?) this last album for RCA Victor. All these recordings are wonderful road trips taking the listener through the various regions of Brazil; the tour guide on the journey is none other than Ary Lobo himself who, besides philosophy, science, politics and religion, would ornate the whole travel experience with an in-depth look into the traditions of a Brazilian society moving toward modernity.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eForró, as with so many genres, enjoyed its moment of greatness, but by the end of the 1960s, its popularity had started to fade and Ary Lobo was forced to start moving from one city to another in search of work opportunities. Eventually he arrived in Fortaleza, where he lived until his death in 1980.  \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAmong the singers and songwriters to emerge from Pará in the 1950s, Ary Lobo’s achieved a level of national fame unique for his time. As an interpreter of more than 700 songs his records not only brought him great notoriety but also provided him with a lot of cash. “O nosso valor que venceu na Maravilhosa” (Our values that won in Rio)” was the headline the Paraense press used to describe Ary Lobo’s conquest of the south. But what exactly did his victory mean? For black and mulato artists coming from impoverished contingent of Brazilian society, the ability to play a leading role in the world of radio, recordings and live performances was a significant achievement. This makes it easier to understand why so much of the money Ary Lobo obtained from his musical success was spent on the conspicuous pleasures of being a star.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003ca data-mce-fragment=\"1\"\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\" data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\" data-mce-fragment=\"1\"\u003ecompilation released December 1, 2023.  Recorded 1958-1966\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eGraphic Design: Yacine Blaiech\u003cbr data-mce-fragment=\"1\"\u003eMastering: Michael Graves\u003cbr data-mce-fragment=\"1\"\u003eText Editing: Jesse Simon\u003cbr data-mce-fragment=\"1\"\u003eTranslation: Alan Lobo\u003cbr data-mce-fragment=\"1\"\u003eBiography: Elmo Barros, Rodrigo Pires and Samy Ben Redjeb\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSpecial Thanks:\u003cbr data-mce-fragment=\"1\"\u003eAntonio Maurício Dias da Costa, Homero Flávio Fortunato, Lúcia Almeida Da Silva, Frédéric Thiphagne, Zé Maria, Max Alvim, Marcos Araujo, Allan Carvalho, Guga de Castro, Mauricio Fleury\u003c\/div\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003ch3 class=\"license-label\" data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv id=\"license\" class=\"info license\" data-mce-fragment=\"1\"\u003e\u003c\/div\u003e","brand":"Analog Africa Records (Germany)","offers":[{"title":"Default Title","offer_id":43577650675873,"sku":null,"price":33.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/files\/a3106497281_16.jpg?v=1702935591"},{"product_id":"various-artists-ecuatoriana-el-universo-paralelo-de-polibio-mayorga-1969-1981-2xlp-w-booklet-import-new-lp-copy","title":"Various Artists \/ Ecuatoriana - El Universo Paralelo de Polibio Mayorga 1969-1981 [2xLP w\/ booklet IMPORT] – New LP","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003eGatefold with magazine booklet.\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3230577858\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/analogafrica.bandcamp.com\/album\/ecuatoriana-el-universo-paralelo-de-polibio-mayorga-1969-1981-analog-africa-no-37\"\u003eEcuatoriana - El Universo Paralelo de Polibio Mayorga 1969-1981 (Analog Africa No. 37) by Analog Africa\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e \u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eOn 12 February 1949 an angry mob stormed into the centre of the Ecuadorian capital of Quito, burning the offices of the city’s main newspaper and its oldest radio station to the ground.  On that tragic day Radio Quito had just broadcast a local adaptation of H.G. Wells’s The War of the Worlds. The novel – first published in 1898 and famously adapted into a radio series by Orson Welles – is one of the earliest stories to depict a conflict between mankind and a hostile race of extra-terrestrials. The large audience - not understanding that it was pure fiction - believed that intergalactic intelligence had invaded the country as all hell broke loose. Thousands began running the streets of Quito looking for shelter, chaos broke out, causing a deadly stampede. People blamed the broadcaster for the tragedy, formed a dense crowd and stormed Radio Quito, setting it ablaze. Several musicians, who were there performing, were killed.\u003cbr\u003e\u003cbr\u003e\u2028In the decades after the second world war, outer space was on everyone’s mind and the ‘space race’ of the 1950s and 60s not only produced groundbreaking efforts to launch artificial satellites, send space probes to Mars and land a human on the moon, it also had a huge impact on the movie and music industry which\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003ewas taking advantage of the world's fascination with space voyages and lunar missions to create instruments capable of mimicking imaginary interstellar sounds. These synthesised space effects that captivated the imagination of a whole generation of young Ecuadoreans coincided with a period in which workers and musicians from the provinces started flocking to Quito and to the commercial port of Guayaquil, some hoping to find regular work, others looking to break into the musical big leagues by getting hired by one of the prestigious urban radio station. These artists brought riches of rhythms to the major Ecuadorian cities who would soon witness the explosion of what would be known as “Andean Cumbia”.\u003cbr\u003e\u003cbr\u003eThat fusion, of tropical electronics mixed in with Andean melodies and lyrics describing the cruel reality of migrant workers, achieved massive success. And so while budding Ecuadorian UFOlogy lead to widespread extraterrestrial sightings, Ecuadorian musicians began released various albums consisting of traditional music combined with synthesisers in order to bring their traditional music into the space age. One of these musicians is Polibio Mayorga who had travelled 160km from his hometown of Chisalata to Quito where he showcased his talent as he championed the art of modernising his region’s ancestral rhythms - Huaynito, Sanjuanito, Albazo and many others - using the latest in electronic instruments.\u003cbr\u003e\u003cbr\u003eAfter 4 years with Los Locos del Ritmo, one of Ecuador’s most popular bands, Polibio joined Fadisa (Fabrica De Discos S.A) in 1973 as a solo musician and songwriter before becoming their musical director a year later. While there he would team up with saxophonist extraordinaire Olmedo Torres, and for 10 years they would compose and arrange hits, not only for themselves but also for their fellow artists in the Fadisa family. Although Fadisa had countless labels in their roster, the jewel in their crown was Rondador and it was on that imprint that Polibio would release “Ponchito de Colores” and his famous album “La Farra Está Aquí”. With their novel use of Moog synthesiser, both became huge hit records and were broadcast constantly by Cosmopolita and Marañón de Quito – the two major radio stations of the capital. This led to a surge of interest in Andean cumbia, and the subsequent record sales helped to revive the country’s flagging music industry, turning Polibio into Ecuador’s most influential musician. \u003cbr\u003e\u003cbr\u003ePolibio has never considered his music to be “tropical psychedelia” - although he thinks it would make a good name for a band. He has the sense of humour of a genius and the ability to make anyone laugh, yet he remains discreet, eloquent and humble … but as a musician he is daring and visionary, with an intrepid, vigorous style almost impossible to imitate. More than perhaps any of his peers, Polibio Mayorga established a unique place for himself at the vanguard of tropical music.\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased April 7, 2023\u003cbr\u003e\u003cbr\u003eAll songs, except Don Alfoncito,\u003cbr\u003eComposed, Arranged, Produced or Performed\u003cbr\u003eby Polibio Mayorga\u003cbr\u003e\u003cbr\u003eGraphic Design: Mauricio Zuffo Kuhlmann (MZK) and Yacine Blaiech (Mogli Studio)\u003cbr\u003eWritten By: Juan Mullo Sandoval and Samy Ben Redjeb\u003cbr\u003eTranslation: Ricardo Luiggi aka DJ Tres Dos\u003cbr\u003eMastering: Michael Graves (Osiris Studio)\u003cbr\u003eText Editing: Jesse Simon\u003cbr\u003e\u003cbr\u003eAgradecimientos especiales para:\u003cbr\u003eEsteban Mendieta Jara conocido como \"El Surco\", Luis Alberto \"EcuAntologia Musical\", Darío Maldonado Cardeño aka \"Ritmonzón\", Eamon Ore-Giron aka \"DJ Lengua\", Ruffy aka \"Discodelic\", Carmina Mayorga, Björn Larsson from Timetableimages, Diego Hernandez \"Eck Echo Berlin\", Pablo E.Yglesias aka \"DJ Bongohead\" of Peace \u0026amp; Rhythm, Jhon Henry Eche (Musicoteca Ecuador), Carlos Javier Pérez Samudio (Candelazos Tropicales), Iván Medellín (Conjunto Media Luna) y Ilka Schlockermann!\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Analog Africa Records (Germany)","offers":[{"title":"Default Title","offer_id":44494247231649,"sku":null,"price":36.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/files\/a3465390889_16_26893388-1ade-4fd5-84b7-327ad0bcb0fb.jpg?v=1720777875"},{"product_id":"various-artists-super-disco-pirata-de-tepito-para-el-mundo-1965-1980-2xlp-w-booklet-import-new-lp-copy","title":"Various Artists – Super Disco Pirata: De Tepito Para El Mundo 1965-1980 [2xLP w\/ booklet IMPORT] – New LP","description":"\u003cp\u003e \u003c\/p\u003e\n\u003ch3 class=\"hd\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/h3\u003e\n\u003cdiv class=\"merchtype secondaryText\"\u003e\n\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3598333287\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/analogafrica.bandcamp.com\/album\/super-disco-pirata-de-tepito-para-el-mundo-1965-1980-analog-africa-no-39\"\u003eSuper Disco Pirata - De Tepito Para El Mundo 1965-1980 (Analog Africa No.39) by Analog Africa\u003c\/a\u003e\u003c\/iframe\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cspan\u003eDuring the 1980s, a group of music dealers and record collectors from Mexico City joined forces to create a series of illegally manufactured vinyl records containing rare and highly-sought hits from Perú, Ecuador, Colombia and beyond. These bootleg compilations – known as “pirata” – were pressed during graveyard shift on recycled vinyl in editions of no more than 500. The anonymous manufacturers may not have realised it at the time but they were helping to consolidate and expand a love for tropical music and dance among the population of Mexico City and beyond. The records became a key element of the sonidero culture that was recently declared as part of the Intangible Cultural Heritage of Mexico City.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe double-LP Super Disco Pirata compilation contains 23 tropical floor-fillers sourced from the finest and strangest pirata LPs and includes a large booklet containing extensive notes and photos.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003eI first became aware of “pirata” LPs in 2020 while hunting for records in Mexico City: their weird-looking DIY covers – and the edited, tweaked, EQ-manipulated and pitched-down music they contained – got me hooked. There was no denying it: the more I became immersed in the world of these illicit productions the more I became intrigued; and before long it became crystal clear that I would one day release my own compilation compiled out of pirated compilations. But beyond my own fascination with that parallel world, it was undeniable that the “pirata” movement had played a significant role in shaping the musical scene of Mexico. So how did it all start?\n\nDuring the 1980s, a group of music dealers and record collectors from Mexico City joined forces to create a series of illegally manufactured vinyl records containing rare and highly-sought hits from Perú, Ecuador, Colombia and beyond. At the time, Mexico City’s dance-party scene was ruled by the sonideros, a highly developed network of mobile soundsystem operators. The popularity of the sonideros led to a growing demand for tropical music, as their fan base became increasingly hungry for the “exclusive” hits associated with particular sonidos. Additionally record dealers were getting frustrated with the music industry constantly “feeding” them streams of mediocre records and from this frustration came the idea of compiling and manufacturing LPs on which every song was a hit: “no matter where the needle dropped, it had to be a song capable of igniting the party.” \n\nThese bootleg compilations – known as “pirata” – were pressed during graveyard shift on recycled vinyl in editions of no more than 500; they were cheaply produced and sold just as cheaply to people who otherwise wouldn’t have been able to afford them. They were played extensively in every corner of Mexico’s heavily-populated barrios where, in addition to educating the ears of the youngsters, they also promoted some of the best tropical music recorded in Latin America.\n\nAccording to various first-hand accounts these “piratas” began to appear mysteriously in the early 1980s at various market stalls in Tepito, Mexico City’s infamous barrio, a place where one can attend daytime Salsa parties, get any drug imaginable, buy any kind of weapon and, of course, purchase pirated music in all formats. It seems that the manufacturers of pirata LPs worked on the principle that “what happens in Tepito stays in Tepito” and getting information about their bootlegging operations was difficult, not to mention dangerous. My partner in crime – Carlos “Tropicaza” Icaza, who had agreed to write the notes to this project – was quick to point out that: “We won’t be able to disclose any names. We’ll have to be careful how we tell the story!”\n\nAt first the pirata LPs came in a simple generic covers, had made-up company names such as Discos Music-Hall, Carioca, Garden, or Miami, and contained popular street-dance songs in nearly every tropical genre. As these unlikely compilations became successful and new ones started being produced at a rate of one per month, the pirates began designing and printing interesting looking covers which often featured the logos of some of the most popular sonidos such as Rolas, Pancho, La Changa, Arco-Iris, Casablanca. The pioneer of this design style was Jaime Ruelas, who had started out as a DJ for the legendary mobile discoteque Polymarchs before using his illustration skills to design their flyers, posters and logos. Taking direct inspiration from science fiction movies and heavy metal covers, the graphics he created became a key element of sonidero culture.\n\nThe anonymous manufacturers may not have realised it at the time but, in daring to create pirata LPs, they were helping to consolidate and expand a love for tropical music and dance among the population of Mexico City and beyond. The records themselves are a key element of the sonidero culture that was recently declared as part of the Intangible Cultural Heritage of Mexico City for the impact that it has had on multiple generations who identified with the communal experience of the street party, and for whom music and dance became an essential part of daily life.\n\nThis double-LP contains 23 tropical floor-fillers sourced from the finest and strangest pirata LPs produced during the golden age of Mexico City’s mobile soundsystems. It also includes a large booklet containing extensive notes and photos and It is dedicated to all the sonideros for their ground-breaking roles as ambassadors of tropical music within mexican society. \ncredits\nreleases November 15, 2024\n\nEste proyecto está dedicado a todos los sonideros de la Ciudad de México\n\nGraphic Design: Yacine Blaiech (Mogli Studio)\nFront Cover: Joaquín Contreras Soto (Contreras.works)\nMastering: Michael Graves (Osiris Studio)\nAudio Restoration: Jordan McLeod (Osiris Studio)\nLiner Notes: Carlos Tropicaza and Samy Ben Redjeb\nText Editing: Jesse Simon\nTranslation: Brendan James Flannery\n\nPosters\/Flyer courtesy of Jaime Ruelas\n\nAgradecimientos Especiales Para: Eduardo Zurita, Lucho Burbano, José ´Morelos´ Ortega, César Gómez Montoya (Codiscos), Juan Nunez (Iempsa), Angel Villanueva (DIscos Fuentes), Tony Peñaredonda (Discos Fuentes), Carlos Javier Pérez Samudio (Candelazos Tropicales), Esteban Mendieta Jara (El Surco), Eamon Ore-Giron (DJ Lengua), Jorge Contreras, Mirjam Wirz, Gail Gosschalk, Carlos \"4 frias\" Estrada, Mamá Changa, Miguel Cruz Flores (Sonido Continental 2000), Angel Blancas (Sonido Sensacion 2000), Manuel Ramirez (Discos Toño), Ramón Rojo (Sonido La Changa)","brand":"Analog Africa Records (Germany)","offers":[{"title":"Default Title","offer_id":44714817912993,"sku":null,"price":40.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/files\/a0069204478_16.jpg?v=1731376950"},{"product_id":"djedje-ernesto-le-roi-du-ziglibithy-import-new-lp","title":"Djedje, Ernesto – Le Roi Du Ziglibithy [IMPORT] – New LP","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThe star of Ernesto Djédjé started rising in the late 60s, when he became the guitar player and leader of Ivoiro Star. Annoyed by the “congolisation” of the Ivorian music that was taking place within the band, Ernesto left the group and emigrated to Paris in 1968 to record his first few singles arranged by Manu Dibango and influenced by Soul, Rhythm \u0026amp; Blues and Jerk.  Returning to Côte d‘Ivoire in 1974 Ernesto began thinking of ways of combining the rhythms and chants of the Bété people and fuse them with Makossa, Funk and Disco and create a musical style that was both Ivorian and International. He called his experiment Ziglibithy and his first two albums, immortalised at the EMI studios in 1977 in Lagos and released on the Badmos label, took West Africa by storm turning Ernesto Djédjé into an icon overnight and one of the legends of African music. The song Zighlibitiens, brought to Colombia by an aeronautical mechanic in the early 1980, would become a huge hit on the Caribbean Coast and reach legendary status in Barranquilla and Cartagena.\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2148252976\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/analogafrica.bandcamp.com\/album\/ernesto-dj-dj-roi-du-ziglibithy-limited-dance-edition-no-15\"\u003eErnesto Djédjé - Roi Du Ziglibithy (Limited Dance Edition No. 15) by Analog Africa\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eIf someone would have told me years ago, when I started the label, that one day I would be releasing music by Ernesto Djédjé, the king of Ziglibithy himself, I would have personally driven them to the closest psychiatric institute such is the magnitude of the artist and his iconic tune “Zighlibitiens”.\u003cbr\u003e\u003cbr\u003eThe star of Ernesto Djédjé started rising in the late 60s, when he became the guitar player and leader of Ivoiro Star, founded by Amédée Pierre, star of Dopé, the leading musical style at the time. Annoyed by the “congolisation” of the Ivorian music that was taking place within the band, Ernesto left the group and emigrated to Paris in 1968 to record his first few singles arranged by Manu Dibango and influenced by Soul, Rhythm \u0026amp; Blues and Jerk. Those recordings reflect the musical mood at that time which was dictated by two musical trends within the Ivoirian scene: Traditional music, embodied amongst others by Amédée Pierre on one hand and imported music from the States, Cameroon and Zaïre on the other. And while the first trend was generally neglected, the youth fully embraced the second and as a result bands such as \"Les Black Devils\", \"Djinn-Music\", \"Bozambo”, “Jimmy Hyacinthe”, shot to stardom overnight by recording mainly funk and disco music. It is within this\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003econtext that Ernesto would draw the inspiration for a future formula.\u003cbr\u003e\u003cbr\u003eReturning to Côte d'Ivoire in 1974 Ernesto began looking for like minded musicians to form the mighty “Ziglibithiens”. Diabo Steck (drums), Bamba Yang (keyboards \u0026amp; Guitar), Léon Sina (Guitar) and Assalé Best (chef d´orchestre and Saxophon) would become the core of the group and together with Ernesto they began thinking of ways of combining the rhythms and chants of the Bété people and fuse them with Makossa, Funk and Disco and create a musical style that was both Ivorian and International. He called his experiment Ziglibithy and his first two albums, immortalised at the EMI studios in 1977 in Lagos and released on the Badmos label, took West Africa by storm turning Ernesto Djédjé into an icon overnight and one of the legends of African music.\u003cbr\u003e\u003cbr\u003eErnesto Djédjé died in mysterious circumstances on June 9th, 1983 - at the age of 35 - shocking the whole Ivorian nation. And although the end came abruptly, it didn’t come too soon, and Ernesto had time - within 5 albums - to cement his legacy as one of the most innovative artists the Ivory Coast ever produced.\u003cbr\u003e\u003cbr\u003eThe song Zighlibitiens, brought to Colombia by an aeronautical mechanic in the early 1980, would become a huge hit on the Caribbean Coast. Renamed “El Tigre” by locals soundsystem operators - certainly due to the Badmos logo - that particular song would reach legendary status in Barranquilla and Cartagena. Setting fire to uncountable local parties, it has become one of the most sought-after Album in that part of the world. And so, while Ziglibithy has mostly disappeared from the airwaves of its country of birth, on the other side of the Atlantic, its fire continues to shine bright.\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\\\u003cbr\u003e\u003cbr\u003eGraphic Design: Kathrin Remest and Yacine Blaiech\u003cbr\u003eMastering: Nick Robbins (Soundmastering)\u003cbr\u003eLacquers: Frank Merritt (The Carvery)\u003cbr\u003eText Editing: Jesse Simon\u003cbr\u003eInterviews and Biography: Volkan Kaya \u0026amp; Samy Ben Redjeb\u003cbr\u003e\n\u003c\/div\u003e","brand":"Analog Africa Records (Germany)","offers":[{"title":"Default Title","offer_id":44989637623969,"sku":null,"price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/files\/a0490897096_16.jpg?v=1752530092"},{"product_id":"bitori-legend-of-funana-import-new-lp","title":"Bitori – Legend Of Funana [IMPORT] – New LP","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eIn 1997, a quiet, unassuming man of 59 years old named Victor Tavares - better know as Bitori - walks into a studio for the very first time to record which many Cabo Verdean consider to be the best Funana album ever made. Built around a formidable rhythm section, formed of drummer Grace Evora and bass player Danilo Tavares, \"Bitori Nha Bibinha\" was recorded. The recording catapulted Chando Graciosa to stardom, making him Cabo Verde's No.1 interpreter of Funana. Analog Africa is proud to contribute to the worldwide promotion of Funana - the once forbidden sound of the Cabo Verde archipelago - by releasing a re-issue of Bitori and Chando Graciosa's legendary recording.\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1123281549\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/analogafrica.bandcamp.com\/album\/bitori-legend-of-funana-the-forbidden-music-of-the-cape-verde-islands-analog-africa-nr-21\"\u003eBitori \/\/ Legend Of Funaná - The Forbidden Music of The Cape Verde Islands  (Analog Africa Nr. 21) by Analog Africa\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Analog Africa Records (Germany)","offers":[{"title":"Default Title","offer_id":44989713842337,"sku":null,"price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/files\/a0744681063_16_1.jpg?v=1752532825"},{"product_id":"movers-the-s-t-import-new-lp","title":"Movers, The – 1970-1976 [IMPORT] – New LP","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003eIt’s a special, but also a strange sensation to be releasing an album of one of your early musical heroes. I first discovered The Movers on my very first “record safari” in 1996. My destination was Bulawayo, in southern Zimbabwe, and to get there I had to travel via Jo’burg. While in town I stopped at a store called Kohinoor, in search of Mbaqanga – also known as Township Jive – and found a few tapes which I listened to non-stop on the bus that carried me to the land of Chimurenga Music. One of these cassettes included the songs “Hot Coffee” and “Phukeng Special” which instantly became part of my daily life. Twenty-five years later I’m still grooving to them.\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3929117869\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/analogafrica.bandcamp.com\/album\/the-movers-vol-1-1970-1976-analog-africa-nr-35\"\u003eThe Movers Vol.1 - 1970-1976 (Analog Africa Nr. 35) by Analog Africa\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003eWhat I didn't know at that time was that The Movers were hugely successful during the 1970s; so when it came time to release some of their music, I though it was going to be “a walk in the park” to track down information about them and write their biography. I was in for a rude awakening. Despite their legendary status, there was almost no information available on band or any of its members.\u003cbr\u003e\u003cbr\u003eFortunately Nicky Blumenfeld from Kaya Radio came to the rescue. A few days after I reached out to her, she had managed to get the phone number of Kenneth Siphayi, who is considered to be the founder of the band, as well as vocalist Blondie\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eMakhene and saxophonist Lulu Masilela. Although we left no stone unturned, we were unable to find any of the four original members who seem to have passed away in total anonymity.\u003cbr\u003e\u003cbr\u003eThe story of The Movers began in 1967 when two unknown musicians – the brothers Norman and Oupa Hlongwane – approached Kenneth Siphayi a stylish and wealthy businessman from the Alexandra township to ask if he could buy them musical instruments. In return he would receive a cut from future life shows and record deals. Kenneth, ended up doing much more, becoming their manager, setting them up in a rehearsal space, and introducing them to an organist who would prove to be the missing link in the band’s skeletal sound. He also gave them their name: The Movers … because, as he said, their music was going to move you, whether you liked it or not.\u003cbr\u003e\u003cbr\u003eThe band exploded onto the country’s racially-segregated music scene at the dawn of the 1970s with a sound that applied the rolling organ grooves and elastic rhythms of American soul to songs that came straight from the heart of the townships. Rumours of the band started to spread throughout the country and soon the record labels were sending their talent scouts to the Alexandra township to hear it for themselves.\u003cbr\u003e\u003cbr\u003eThe Movers finally signed to Teal Records in 1969, and their first album, Crying Guitar, went on to sell 500,000 copies within the first three months, launching them into the front rank of South African bands. In their first year they went from local sensations to being the first band of black South Africans to have their music cross over to the country’s white radio stations.\u003cbr\u003e\u003cbr\u003eAlthough the first record was entirely instrumental, The Movers started working with different singers soon after – scoring an early hit with 14 year old vocal prodigy Blondie Makhene – and enriched their sonic palette with horns, extra percussion and various keyboards. Their stylistic range also expanded, incorporating elements of Marabi, Mbaqanga, jazz, funk, and reggae into their soul-steeped sound. But the essence of their music came from the almost telepathic connection of its founding members: the simmering organ of Sankie Chounyane, the laid-back guitar lines of Oupa Hlongwane, the energetic bass grooves of Norman Hlongwane and the simmering rhythms of drummer of Sam Thabo.\u003cbr\u003e\u003cbr\u003eThe band reached their apex in the mid-1970s, and their hit ‘Soweto Inn’, sung by Sophie Thapedi, became inseparable from the student revolts that signalled a new resistance to the apartheid government. In 1976, however, their manager was forced out, and their producer started to play a more active role in the band’s direction. By the end of the decade there were no original members left. But at their height The Movers were titans of South African soul who left a legacy of over a dozen albums and countless singles of pure groove. On The Movers 1970–76, Analog Africa presents 14 of the finest tracks from the band’s undisputed peak.\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\n\u003cbr\u003e\u003cbr\u003eGraphic Design: Kathrin Remest and Yacine Blaiech\u003cbr\u003eMastering: Nick Robbins (Soundmastering)\u003cbr\u003eText Editing: Ian Preece and Jesse Simon\u003c\/div\u003e","brand":"Analog Africa Records (Germany)","offers":[{"title":"Default Title","offer_id":44989740875937,"sku":null,"price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/files\/a3973414637_16.jpg?v=1752533434"},{"product_id":"zig-zag-band-chigiyo-music-kings-1987-1998-import-2xlp-w-booklet-new-lp","title":"Zig-Zag Band – Chigiyo Music Kings 1987-1998 [IMPORT 2xLP] – New LP","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eVinyl 2LP, 3-color screen-printed gatefold cover w\/ download card.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eZig-Zag Band - Trailblazers of Zimbabwe’s Chigiyo Sound\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=483743977\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/analogafrica.bandcamp.com\/album\/zig-zag-band-chigiyo-music-kings-1987-1998-analog-africa-no-42\"\u003eZig-Zag Band   \"Chigiyo Music Kings 1987-1998\"  (Analog Africa No.42) by Analog Africa\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cspan class=\"bcTruncateMore\"\u003eThe sole surviving member Gilbert Zvamaida, the legendary guitarist and founding force behind the group. Gilbert always appeared super laid-back, often lounging shirtless on his sofa, sharing stories of his musical journey — tales of traveling across the country, spreading the sound he helped pioneer throughout Zimbabwe.\u003cbr\u003e\u003cbr\u003eThe band emerged in the early 1980s, a time when Zimbabwe was forging its post-independence identity, and quickly established itself as one of the country’s most distinctive musical voices. Their sound — a vibrant fusion of reggae, traditional rhythms, brass arrangements, and mbira-inspired guitar — helped define what would become known as Chigiyo, a genre named after a traditional dance from the Chimanimani region.\u003cbr\u003e\u003cbr\u003eFormed in Kwekwe under the mentorship of Robson Kadenhe and led by guitarist Gilbert Zvamaida, the band crafted a bold, original style. With intricate guitar lines, infectious dance rhythms, and raw, soulful Shona vocals, they pushed beyond genre boundaries. While many contemporaries opted for commercially safer routes, Zig-Zag remained fiercely independent, committed to authenticity and innovation.\u003cbr\u003e\u003cbr\u003eTheir early years included a notable stint as the backing band for Oliver Mtukudzi, contributing to the legendary Wavona LP. Even then, they were quietly forging a sound of their own. Their breakthrough came in 1987 with “Gomo Ramasare,” a track that not only launched them to national fame but became their enduring signature. Their 1989 debut album Child Survival\/Chigamba marked a major milestone, followed by a series of respected releases. Among them was Hombiro — a commercial flop, according to Zvamaida, but still a testament to their artistic risk-taking.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eDespite the loss of nearly all original members over the years, Zvamaida — now based in the U.S. and performing with Thomas Mapfumo’s Blacks Unlimited — continues to carry the torch. As the last surviving founding member, he remains a guardian of Chigiyo, keeping its legacy alive for future audiences.\u003cbr\u003e\u003cbr\u003eWritten by Zimbabwean music specialist Banning Eyre and Designed by the aforementioned Magrão, this compilation housed in a 3-colour screenprinted cover  brings Zig-Zag Band’s groundbreaking music back into the spotlight — celebrating their unique contribution to Zimbabwean culture and reintroducing a vibrant, unjustly overlooked discography to a new generation of listeners.\"\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased 2026\u003cbr\u003e\u003cbr\u003eGraphic Design: Ricardo \"Magrão\" Fernandes\u003cbr\u003eMastering: Michael Graves (Osiris Studio)\u003cbr\u003eAudio Restoration: Jordan McLeod (Osiris Studio)\u003cbr\u003eLiner Notes: Banning Eyre\u003cbr\u003eText Editing: Jesse Simon\u003cbr\u003e\u003cbr\u003eSpecial Thanks to: Gilbert Zvamaida, Daniel Marire, Julius Ziva and Isaac Phiri\u003c\/div\u003e","brand":"Analog Africa Records (Germany)","offers":[{"title":"Default Title","offer_id":45627237990561,"sku":null,"price":40.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/files\/zig.jpg?v=1767764508"},{"product_id":"ranil-y-su-conjunto-tropical-galaxia-tropical-import-new-lp","title":"Ranil y Su Conjunto Tropical – Galaxia Tropical [IMPORT Peru 1970s] – New LP","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003eOn April 18, 2019, fresh off the plane in Iquitos, I jumped into the taxi of an elderly gentleman and immediately knew that the stars were aligned. As we rode toward the city center, I explained that I had come to the Peruvian Amazon to find Ranil. “You mean Ranil the singer? I know where he lives,” he replied, as if it were the most natural thing in the world. “He has a radio station — I’ll take you there.” We arrived in the heart of the frenetic Belén market 30 minutes later, and before I knew it, I was no longer searching for the man — I was standing right in front of him. Ranil and I hit it off immediately and ended up spending a month working together on this project.\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2097218467\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/analogafrica.bandcamp.com\/album\/ranil-y-su-conjunto-tropical-galaxia-tropical-analog-africa-no-43\"\u003eRanil y Su Conjunto Tropical - Galaxia Tropical (Analog Africa No.43) by Analog Africa\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003eA year later, in early 2020, I booked a flight back to Perú, this time carrying with me the first volume of Ranil y Su Conjunto Tropical, freshly pressed on vinyl. The plan, together with Ranil, was to organise a release party in Lima and then continue on to Iquitos, but it was not meant to be. Before we could gather, a lockdown paralyzed the country, and Ranil passed away on April 24, 2020. Those who knew him best said that the silence that fell over his beloved neighbourhood was the one thing his heart could not endure.\u003cbr\u003e\u003cbr\u003eBorn in 1935 as Jorge Raúl Llerena Vásquez, Ranil’s story begins in the Peruvian Amazon, in a corner where the sounds of the\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eforest fuse with stray radio waves from Colombia, Brazil, and Ecuador. After winning several local singing contests as a young man, he quickly realized that breaking into Peru’s music industry — especially as an artist from “the end of the world” — would not be an easy path. So he focused on his studies, becoming a teacher in a rural town near the Brazilian border, quietly writing his first songs to the rhythm of jungle life.\u003cbr\u003e\u003cbr\u003eYears later, back in Iquitos, destiny arrived in the form of Johnny Quinteros of Los Silver’s, who invited Ranil to join as singer. Their two albums recorded in the early 1970s, became cult treasures. When the band dissolved, the lead guitarist Limber Zumba and Ranil teamed up and recorded a demo that they took to Lima in search of a recording company. Returning disappointed from the capital — where unacceptable conditions had been proposed — Ranil decided to start his own label, Producciones Llerena, something unheard of in this part of the Peruvian Amazon.\u003cbr\u003e\u003cbr\u003eWith a rotating cast of brilliant musicians such as Luis Nigro, Emilio Piña, and Betto Gaviria by his side, Ranil crafted a sound that locals lovingly called \"llullampeo\" — imaginative, unpredictable, and fabulously unrestrained. His percussionists wove grooves that have not resurfaced in the region since, and the 14 songs presented here remain some of the most vivid document of that fearless, free-spirited, often psychedelic ensemble.\u003cbr\u003e\u003cbr\u003eOver the years, Ranil released more than a dozen LPs, though often in beautiful disorder. Mismatched covers, wrong labels, missing song titles, chaotic management — Producciones Llerena was not meant to survive the test of time.\u003cbr\u003e\u003cbr\u003eBy the 1980s, as Amazonian cumbia faded and new trends took over, Ranil reinvented himself as a radio pioneer, founding Radio Llerena in the heart of Belén’s market. Its loudspeakers filled the neighbourhood with cumbia, commentary, and community news, turning him into one of Iquitos’s best-known voices and setting him on the path to politics. Outraged by Amazonian injustices, Ranil ran several times for Mayor of Belén with the Popular Action party, but he never won an election.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e*** Epilogue by Samy Ben Redjeb ***\u003cbr\u003e\u003cbr\u003eWhile I was stuck in Lima during the lockdown, I uploaded a selection of previously unreleased Ranil songs to our Bandcamp for a symbolic sum of $1. The collection was titled “Stay Safe \u0026amp; Sound – The Ranil Selection.” To my surprise, people began contributing far more than the suggested amount.\u003cbr\u003e\u003cbr\u003eLooking for meaningful ways to put that money to use, I got in touch with Berlin-based Peruvian music producer Diego Hernández of the Eck Echo label. During our first conversation, I learned that in Iquitos, many people were dying primarily due to a shortage of oxygen. Diego told me about Father Raymundo Portelli, a priest who had been coordinating a fundraising campaign to acquire an oxygen plant for the city’s inhabitants. He was clearly the person we needed to support.\u003cbr\u003e\u003cbr\u003eDiego and I joined forces to establish the Amazonía Relief Fund, actively encouraging contributions while featuring the Ranil selection as our centerpiece. Within two weeks, we had raised approximately €13,000, which was donated directly to Father Raymundo to facilitate the purchase of a second oxygen plant—likely saving many lives.\u003cbr\u003e\u003cbr\u003eEven in death, Ranil was doing God’s work!\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased February 6, 2026\u003cbr\u003e\u003cbr\u003eGraphic Design: Mzk \u0026amp; Yacine Blaeich\u003cbr\u003eMastering: Michael Graves (Osiris Studio)\u003cbr\u003eAudio Restoration: Jordan McLeod (Osiris Studio)\u003cbr\u003eTranslation: Santa Cecilia\u003cbr\u003eLiner Notes: Alfredo Villar \u0026amp; Samy Ben Redjeb\u003cbr\u003eText Editing: Jesse Simon\u003cbr\u003ePictures: Chico Unicornio\u003c\/div\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Analog Africa","offers":[{"title":"Default Title","offer_id":45709943505057,"sku":null,"price":38.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/files\/ranil.jpg?v=1770839173"},{"product_id":"antoine-dougbe-et-lorchestre-poly-rythmo-de-cotonou-st-2xlp-import-new-lp","title":"Antoine Dougbé et L'Orchestre Poly-Rythmo De Cotonou – 1977 - 1982 [2xLP IMPORT] – New LP","description":"\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003e\u003cstrong\u003eAntoine Dougbé – The Devil’s Prime Minister\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4245136620\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/analogafrica.bandcamp.com\/album\/antoine-dougb-et-lorchestre-poly-rythmo-de-cotonou-1977-1982-analog-africa-no-44\"\u003eAntoine Dougbé et L'Orchestre Poly-Rythmo De Cotonou 1977 - 1982 (Analog Africa No.44) by Analog Africa\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cspan\u003e\u003cstrong\u003eWhile I'm far from some expert on West African music, I tend to look for the stuff that locks into the fast-forward propulsive (which describes a huge percentage of  African music...and without that, I'm not sure where we'd be right now, probably not talking to you because African music carried a direct link to folks like James Brown and Bo Diddley and so many other Black artists of that era and earlier...from Memphis, New Orleans, the West Indies.. and the link between Bo Diddley and nearly everyone I love is strong, from Buddy Holly to The Who to The Stooges and thousands of others. But I don't grab every African record I come across, tend to go for the stuff that offers the strong propulsion along with something unique, and this offering certainly offers those two things. Afrobeat (at least the stuff I've heard) is mostly West African, but also shows some influences from Black music of the United States, and while in the 1960s those influences included James Brown, Stax, Isley Brothers, Motown and Sly Stone, this recording is from the late 1970s and early 1980s and the influences are really interesting and sometimes hard to accurately dissect. While disco was showing up a lot in African music by this point, and this does have cool dated synthesizers that connect some of the selections with the disco era (especially as this set progresses), this mostly seems to go back to the 1960s (and earlier) for influences, perhaps even showing some psych Baroque influences on some cuts (but that might be just the cool fuzz guitar and synthesizers blending with the West Indies percussion), definitely showing Latin-American influences, pulling in the Afro-Cuban (to complicate matters, some of those influences were clearly heavily influenced by African music)...maybe some sprinkling of psychedelic, freak-out and acid rock influences (most might use those descriptors synonymously, but I tend to think of them separately). The beauty is that these influences don't distract, but are pulled into the propulsive, sparking like gun powder sprinkled into the fire burning, tossed into the fuel to spark the locomotion, the sounds wrapped up into the groove. Jump up and kick your feet or kick back and flip your wig to the sounds of \u003c\/strong\u003e\u003cstrong\u003eAntoine Dougbé et L'Orchestre Poly-Rythmo De Cotonou – 1977 - 1982.\u003c\/strong\u003e\u003cstrong\u003e  -- winch \u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eWho was Antoine Dougbé? Even the most dedicated crate-digger might go their whole life without stumbling across any of the three LPs he released in the late 1970s and early ’80s. Yet all the musicians who happened to cross paths with him remember him with a mixture of admiration and fear; for Antoine Dougbé was not merely one of the most inventive songwriters to emerge from the fertile music scene of Cotonou, but also a powerful Vodún initiate whose close connection to the spirit world allowed him to refer to himself as “the Devil’s prime minister.”\u003cbr\u003e\u003cbr\u003eAs a young man he moved from Abomey to Cotonou, a city that had established itself as one of the centres of the West African music scene. There he encountered most of the popular styles of African and Latin music and, like many of his generation, found himself drawn to Cuban son and rumba. Although he was particularly attracted to Congolese rhythms, it was his fascination with the traditional rhythms of Benin—especially those associated with Vodún ceremonies—that allowed Dougbé to take his music in directions far removed from anything happening in the Congo.\u003cbr\u003e\u003cbr\u003eEarly in his career, Dougbé was known for\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eintimidating and threatening musicians if they didn’t play to his liking, and when the time came to find a band willing to record with him, he struggled. But according to Mélomé Clément, founder of the mighty Orchestre Poly-Rythmo de Cotonou, Dougbé posed no problem for them, since the band’s drummer, Yehouessi Leopold, and bassist, Bentho Gustave, were themselves initiated into Vodún and Dougbé never dared to challenge them.\u003cbr\u003e\u003cbr\u003eDougbé was unique among the band’s external collaborators in that he neither sang nor performed any of the main instrumental parts. It has been suggested that his involvement with Vodún—in which singing plays a crucial role in important rituals—effectively prohibited him from using his voice for anything as frivolous as a popular song. Instead he provided his songs to Melome Clément, who arranged them for the band; most of the vocals were handled by Lohento Eskill and Amoussou William.\u003cbr\u003e\u003cbr\u003eWhether driven by the thrill of the music or by fear of crossing the Devil’s prime minister, Dougbé’s records all feature Orchestre Poly-Rythmo playing at the absolute height of their considerable powers.\u003cbr\u003e\u003cbr\u003eDougbé released three LPs and a handful of singles under his own name, the first, which appeared in 1977 on Disques Tropiques. And although Dougbé achieved moderate success with the early single “Nounignon Ma Kpon Midji”, his other records never quite found the audience they deserved, and by the early eighties he had vanished from the music scene.\u003cbr\u003e\u003cbr\u003eIllness struck in 1992, prompting a move to Parakou in northern Benin, where he lived and worked for four more years. Antoine Dougbé died of cirrhosis of the liver on 20 September 1996, while on holiday in his former home of Cotonou—leaving behind a small but extraordinary body of work, and a legacy still wrapped in mystery.\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased 2026\u003cbr\u003e\u003cbr\u003eGraphic Design: Mzk \u0026amp; Yacine Blaeich\u003cbr\u003eMastering: Nick Robbins (Soundmastering)\u003cbr\u003eText Editing: Jesse Simon\u003cbr\u003e\u003cbr\u003eSpecial thanks to: Lokonon André, Akpanon Hypolite and to the Dougbé family: Brigitte, Marianne, Marcel Jr, Sebastien, Odette, Sylvie, Valere and Marcel Dougbé.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Analog Africa Records (Germany)","offers":[{"title":"Default Title","offer_id":46618526384289,"sku":null,"price":40.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/files\/dug.jpg?v=1782503149"},{"product_id":"los-orientales-de-paramonga-1972-1976-2xlp-import-new-lp","title":"Orientales de Paramonga, Los – 1972-1976 [2xLP IMPORT] – New LP","description":"In the late 1960s, the coastal city of Paramonga, just a three-hour drive north of Lima, gave rise to a vibrant music scene shaped by surf, rockabilly, and tropical sounds. Among its protagonists were two musicians, Víctor Ramírez and Maximiliano Chávez, who, with their psychedelic guitars, Fender amplifiers, and wah-wah pedals, would define not only their own sound but also shape the musical identity of the region.\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1356629673\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/analogafrica.bandcamp.com\/album\/los-orientales-de-paramonga-1972-1976-analog-africa-no-45\"\u003eLos Orientales de Paramonga 1972-1976 (Analog Africa No.45) by Analog Africa\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\n\nUnder the mentorship of their manager, Néstor “Romanito” Robles, the two guitarists added a few remarkable percussionists to the lineup and formed Los Orientales. Their debut single, \"Lobos Al Escape,” recorded in 1970, reached the very top of the Peruvian charts, catapulting the band to national fame and spreading their electrifying cumbia throughout the country. Despite this early success, internal tensions led to a split between Víctor and Maximiliano, resulting in two rival groups with the exact same name.\n\nSeeking wider recognition, Los Orientales de Paramonga of Víctor Ramírez - the band featured in this project — traveled to Lima and signed with Sono Radio, the country’s leading label. Under the direction of Argentine producer Enrique Lynch, they recorded a series of successful singles before releasing their debut album, \"Con Sabor Tropical,\" in 1972. Blending cumbia with guaracha, salsa, and guaguancó, the band gained national acclaim and expanded their audience through relentless touring.\n\nTheir follow-up album \"Tremendo Ritmo\" from 1973 further cemented their reputation, incorporating vocal arrangements and aiming to rival top tropical acts of the era. Known for their electrifying live performances — often playing multiple venues in a single night — they eventually won over audiences in the capital after dominating northern Peru.\n\nBy the mid-1970s, after several releases including “Ritmo Para Ti”, Ramírez concluded his chapter with Sono Radio and continued evolving musically, later embracing emerging styles such as chicha and experimenting across genres. His former counterpart, Maximiliano Chávez, withdrew from professional music altogether.\n\nToday, Víctor Ramírez lives in Genoa, Italy, leaving behind a legacy as one of Peru’s most innovative and versatile musicians — an artist who helped shape modern cumbia while never forgetting his roots.\n\nThe seven songs on Side A of this compilation are from the LP “Con Sabor Tropical”, and the six songs on Side B are from the LP “Tremendo Ritmo”, while Sides C and D are compilations drawn from their 45 RPM singles. Together, these recordings offer a complete journey through the sound and spirit of Los Orientales de Paramonga at their peak. \ncredits\nreleased June 19, 2026\n\nGraphic Design: Ricardo H Fernandes \u0026amp; Yacine Blaeich\nMastering: Michael Graves (Osiris Studio)\nAudio Restoration: Jordan McLeod (Osiris Studio)\nBiography and Pictures: Chico Unicornio\nText Editing: Jesse Simon\n\nLos Orientales 45s, courtesy of Jorge Alan Pimentel\n\nSpecial Thanks to Victor Ramirez, Juan Reynaldo Nuñez, Carlos \"4 Frias\" Estrada and Carlos Javier Pérez Samudio\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cmeta charset=\"utf-8\"\u003e \u003cmeta charset=\"utf-8\"\u003e \u003cmeta charset=\"utf-8\"\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Analog Africa Records (Germany)","offers":[{"title":"Default Title","offer_id":46652956967073,"sku":null,"price":40.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/files\/peru.jpg?v=1783238012"},{"product_id":"various-artists-essiebons-special-1973-1984-ghana-music-power-house-2xlp-import-new-lp","title":"Various Artists – Essiebons Special 1973 - 1984 \/ Ghana Music Power House [2xLP IMPORT] – New LP","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003eAfter opening West Africa’s first record pressing plant in 1967, Essilfie-Bondzie’s Dix and Essiebons labels were synonymous - for most of the 1970s - with the best in modern highlife, and his roster was a who’s-who of highlife legends. C.K. Mann, Gyedu Blay Ambolley, Kofi Papa Yankson, Ernest Honny, Rob ‘Roy’ Raindorf and Ebo Taylor all released some of their greatest music under the Essiebons banner.\u003c\/span\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=472985743\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/analogafrica.bandcamp.com\/album\/essiebons-special-1973-1984-ghana-music-power-house-analog-africa-nr-33\"\u003eEssiebons Special 1973 - 1984 \/\/ Ghana Music Power House (Analog Africa Nr. 33) by Analog Africa\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cspan\u003eEssiebons Special features a selection of obscure workouts from some of the label’s heaviest hitters. But in the course of digitising his vast archive of master tapes, Essilfie-Bondzie found a number of Afrobeat and Inst- rumental masterpieces tracks from the label’s mid-70s golden age that, for one reason or another, had never been released. Those songs are included here for the first time.\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eDick Essilfie-Bondzie was all ready for his 90th birthday party when the Covid pandemic hit. The legendary producer, businessman and founder of Ghana’s mighty Essiebons label had invited all his family and friends to the event and it was the disappointment at having to postpone that prompted Analog Africa founder Samy Ben Redjeb to propose a new compilation celebrating his contributions to the world of West African music.\u003cbr\u003e\u003cbr\u003eEssilfie-Bondzie had been destined for a very different career. Born in Apam and raised in Accra, he was sent to business school in London at the age of 20, and returned to the security of a government job in Ghana. But his passion for music, inspired by the sounds of Accra’s highlife scene, had never left him, and in 1967 he figured out a way of combining music and business by opening West Africa’s first record pressing plant.\u003cbr\u003e\u003cbr\u003eThe venture, a partnership with the Philips label, was a\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003ehuge success, attracting business from all over the continent. By the early 1970s Essilfie-Bondzie had left his government job to concentrate on his labels, and by the mid-seventies he was on a hot streak injecting album after album of restless highlife into the bloodstream of the Ghanaian music scene.\u003cbr\u003e\u003cbr\u003eSadly Essilfie-Bondzie passed away before the compilation was finished. But his legacy lives on in the extraordinary music that he gave to the world in his lifetime.\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\n\u003cbr\u003e\u003cbr\u003eGRAPHIC DESIGN: Kathrin Remest (Analog Africa)\u003cbr\u003eMASTERING: Nick Robbins (Soundmastering)\u003cbr\u003eLACQUERS: Frank Merritt (The Carvery)\u003cbr\u003eINTERVIEWS AND BIOGRAPHY: Jesse Simon and Samy Ben Redjeb TEXT EDITING: Jesse Simon\u003cbr\u003e\u003cbr\u003eSPECIAL THANKS TO:\u003cbr\u003eCraig and Nina Debrah, Alf Bremer, Ikon Afrik, Alexander Opoku-Agyemang, Eric Blankowv,\u2028Elia Christian Vargas, Stephanie Vollé, Christian Buksti, Martin Van Aalst and William Dorey aka Skinshape\u003c\/div\u003e","brand":"Analog Africa Records (Germany)","offers":[{"title":"Default Title","offer_id":46852414242977,"sku":null,"price":40.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/files\/ess.jpg?v=1786236013"},{"product_id":"various-artists-cameroon-garage-funk-2xlp-import-new-lp","title":"Various Artists – Cameroon Garage Funk [2xLP IMPORT] – New LP","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003eYaoundé, in the 1970´s, was a buzzing place. Every neighbourhood of Cameroon´s capital, no matter how dodgy, was filled with music spots but surprisingly there were no infrastructure to immortalise those musical riches. The country suffered from a serious lack of proper recording facilities, and the process of committing your song to tape could become a whole adventure unto itself. Of course, you could always book the national broadcasting company together with a sound engineer, but this was hardly an option for underground artists with no cash. But luckily an alternative option emerged in form of an adventist church with some good recording equipment and many of the artists on this compilation recorded their first few songs, secretly, in these premises thanks to Monsieur Awono, the church engineer. He knew the schedule of the priests and, in exchange for some cash, he would arrange recording sessions. The artists still had to bring their own equipment, and since there was only one microphone, the amps and instruments had to be positioned perfectly. It was a risky business for everyone involved but since they knew they were making history, it was all worth it.\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3370064074\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/analogafrica.bandcamp.com\/album\/cameroon-garage-funk-analog-africa-nr-32\"\u003eCameroon Garage Funk (Analog Africa Nr. 32) by Analog Africa\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003eAt the end of the recording, the master reel would be handed to whoever had paid for the session, usually the artist\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003ehimself..and what happened next? With no distribution nor recording companies around this was a legitimate question. More often then not it was the french label Sonafric that would offer their manufacturing and distribution structure and many Cameroonian artist used that platform to kickstart their career. What is particularly surprising in the case of Sonafric was their willingness to take chances and judge music solely on their merit rather than their commercial viability. The sheer amount of seriously crazy music released also spoke volumes about the openness of the people behind the label.\u003cbr\u003e\u003cbr\u003eBut who exactly are these artists that recorded one or two songs before disappearing, never to be heard from again? Some of the names were so obscure that even the most seasoned veterans of the Cameroonian music scene had never heard of them. A few trips to the land of Makossa and many more hours of interviews were necessary to get enough insight to assemble the puzzle-pieces of Yaoundé’s buzzing 1970s music scene. We learned that despite the myriad difficulties involved in the simple process of making and releasing a record, the musicians of Yaoundé’s underground music scene left behind an extraordinary legacy of raw grooves and magnificent tunes.\u003cbr\u003e\u003cbr\u003eThe songs may have been recorded in a church, with a single microphone in the span of only an hour or two, but the fact that we still pay attention to these great creations some 50 years later, only illustrates the timelessness of their music.\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003ecredits\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased September 3, 2021\u003cbr\u003e\u003cbr\u003eGRAPHIC DESIGN: KATHRIN REMEST (ANALOG AFRICA)\u003cbr\u003eMASTERING: NICK ROBBINS (SOUNDMASTERING)\u003cbr\u003eLACQUERS: FRANK MERRITT (THE CARVERY)\u003cbr\u003ePICTURES: DÉNI SHAIN\u003cbr\u003eTEXT EDITING: JESSE SIMON\u003cbr\u003eINTERVIEWS, TRANSLATION AND BIOGRAPHIES: VOLKAN KAYA AND SAMY BEN REDJEB\u003cbr\u003e\u003cbr\u003eSPECIAL THANKS TO:\u003cbr\u003eNGA MARTIN AKA JOHNNY BLACK, MARCEL TALLA, BANDOLO WILFRIED, JEAN PAUL NDENGA, ABILA DÉSIRÉ, PIERRE DIDY TCHAKOUNTÉ, JOACHIM OELSNER, TSANGA MARIE, RICKARD MASIP, JEAN DELLEMOTTE, KEITH SLATER, JOHN PITCHER AND BJÖRN LARSSON FROM TIMETABLEIMAGES\u003c\/div\u003e","brand":"Analog Africa Records (Germany)","offers":[{"title":"Default Title","offer_id":46855998079137,"sku":null,"price":45.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/files\/funk.jpg?v=1786312493"}],"url":"https:\/\/store.greennoiserecords.com\/collections\/analog-africa.oembed","provider":"Green Noise Records","version":"1.0","type":"link"}