................. Analog Africa .................

ANALOG AFRICA No.10 - Bambara Mystic Soul - "The Raw Sound of Burkina Faso 1974-1979"

2011-05-11T13:35:00.000-07:00

Release Date: October 10, 2011

For its commemorative 10th release, Analog Africa indulges in Burkina Faso, one of the jewels of the Sahel, a harsh and arid strip that straddles the southern Sahara, stretching from Dakar in the west to Djibouti in the east. Formerly known as Haute Volta, Burkina Faso's sound was organized and nurtured during the country's time as part of a vast patchwork making up French colonial West Africa.

The rise of a post-independence urban middle class willing to invest in the Burkinabé arts spawned a cadre of singers, bands, orchestras and, most importantly, competitive record labels who all played their part in ushering in a golden age of music in their landlocked nation during the 1970's - a decade marred by political instability in the country and an era of artistic enlightenment empowering the whole of Africa.

The Sahelian climate fortunately bore no influence on the Burkinabé sound, which is cosmopolitan as it was raw. West Africa was and continues to remain deeply interconnected. In search of better gigs, well-to-do producers and sufficient recording equipment, Burkinabé musicians ventured across the surrounding region, returning home with a wealth of knowledge of their neighbors' distinctive styles.

The raw sound of Burkina Faso combined Afro-Funk, traditional Islamic rhythms and subtle Afro-Latin sounds brought over by visiting Cuban ensembles. Mandingue melodies and guitar techniques from Mali and Guinea, however, were by far the most defining traits of a potent African mix that distinguished the Voltaic style between 1974 and 1979.

Beginning with L'Harmonie Voltaïque and Orchestre Super Volta (both featured in this compilation), the pioneering orchestras from the capital Ouagadougou, several groups followed suit. Regional orchestras outside of the capital proudly boasted the contemporary sound through ensembles such as Echo del Africa National and Volta Jazz, and exported much needed skilled musicians back to the capital.

Record labels across Burkina Faso sprung up to capture the newly born mystic and soulful sound taking over the country. Volta Discobel and Club Voltaïque du Disque (CVD) emerged in 1974 and competed for the modern music of their people. Despite its humble beginnings as a record shop, CVD came to dominate the industry. Both labels worked with the heavyweights of the time, such as the majestic Amadou Ballaké, a national icon who is featured extensively on this compilation.

By the mid 70's, Ouagadougou had become a hotbed for African music, filled with touring bands, gifted instrumentalists and hypnotic vocalists. Talent was abound, to say the least. Jean Claube Bamago, the founder of Afro-Soul System, went from being a "musician's tailor" to a celebrated singer. Legendary singer Amadou Ballaké himself jumped from job to job before being recognized for his graceful voice.

While it might be Analog Africa's venture into possibly the most obscure of African sounds thus far, the sounds of the golden age of Burkinabé music deserve to be heard and the varying styles that came to define the era are completely covered in this 16-track release, accompanied by a 44-page booklet.

Tracklisting :

1. Amadou Ballaké et l'Orchestre Super Volta - "Bar Konou Mousso" 5:27

2. Abdoulaye Cissé - "Kodjougou" 5:14

3. Compaoré Issouf - "Dambakale" 4:37

4. Amadou Ballaké et Les 5 Consuls - "Renouveau" 4:46 LISTEN HERE

5. Afro Soul System - "Tink Tank" 4:10

6. Mamo Lagbema - "Love, Music and Dance" 4:07

7. Amadou Ballaké et Les 5 Consuls - "Baden Djougou" 4:2

8. Amadou Ballaké et l'Orchestre Super Volta - "Johnny" 3:31

9. Coulibaly Tidiani - "Sie Koumgolo" 4:09

10. Mangue Konde et Le Super Mandé - "Kabendo" 7:44

11. Orchestre CVD - "Rog Mik Africa" 4:46

12. Amadou Ballaké et l'Orchestre Super Volta - "Sali" 4:04

13. Mamo Lagbema - "Zambo Zambo" 4:32

14. Traoré Seydou Richard et Les Vadou du Flamboyant - "Katougou" 4:19

15. Amadou Ballaké et l'Orchestre Super Volta - "Oye Ka Bara Kignan" 4:01

16. Sandwidi Pierre et l'Orchestre Harmonie Voltaïque - "Tond Yabramba" 5:22

Five years in the making, Analog Africa has strived to showcase the rich diversity of 70's African and Latin music, always staying true to the sounds' value. The label has also successfully organized the first-ever European tours for Colombia's Anibal Velasquez and Ghana's Ebo Taylor as well resurrecting the force that is Benin's Orchestre Poly-Rythmo de Cotonou, amongst others.

Our efforts have not gone unnoticed. The accolades are as follows:

*German Record Critics’ Prize 2011 Winner - "Angola Soundtrack: The Unique Sound of Luanda 1968-1976"

*Gilles Peterson Worldwide Award 2011 Nominee - Label of the Year

*Red Dot Designer Award 2008 Winner - "African Scream Contest: Raw & Pscyhedelic Afro Sounds from Benin & Togo 70s"

*European Design "Silver" Award 2010 Winner - "Legends of Benin"

ANALOG AFRICA - Limited Dance Edition

2011-03-31T10:01:00.000-07:00

Orchestre Poly-Rythmo de Cotonou - The 1st Album (1973) and ROB - Funky Rob Way (1977)

Analog Africa are pleased to announce the launch of a new series called "Analog Africa - Limited Dance Edition". The objective of the series is to release African and tropical records (in strictly limited editions) which concentrate on single artists that have had an impact on the label in a way or another.

The first two releases in the series, released simultaneously on 7th June, are the first LP of Orchestre Poly-Rythmo, one of the best Beninese Afrobeat recordings from 1973, and The first LP of the cosmic Ghanaian funk legend, ROB.

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Artist: Orchestre Poly-Rythmo
Title: The 1st Album (1973)
Catalogue number: AACD - DE01/AALP - DE01

Track-listing:
1. Ou C´est Lui Ou C´est Moi 8:45
LISTEN HERE
2. Yeye We Nou Mi 6:18
LISTEN HERE1
LISTEN HERE2
3. La La La La 12:06
LISTEN HERE1
LISTEN HERE2
4. Egni Miton? Nin Mi Na Wa Gbin 6:13
LISTEN HERE

Nestled in between Nigeria and Ghana, the traditional heavyweights of the golden West African musical axis, Benin, formerly known as Dahomey, has birthed some of the most raw and psychedelic Afro sounds to emerge from a continent blessed with artistic talent. From Lome to Luanda, Africa's coastal cities have constantly served as creative hubs and Benin's economic capital, Cotonou, is no exception. The former French trading post has spawned several bands and performers, the most indefatigable and prolific of which undoubtedly remains Orchestre Poly-Rhythmo. Extensively featured on Analog Africa's previous releases, Poly-Rythmo and its legendary members constitute arguably Africa's most innovative band. By building upon and modernizing the traditional rhythms of Vodoun, conforming to the Afrobeat sound of the time, incorporating Western styles and injecting a healthy Latin dose, Orchestre Poly-Rhythmo fostered a diverse groove that remained unique to Benin and resonated with the region's urban centres. Despite consisting of 16 members at its peak, the band was originally founded as Orchestre Poly-Disco in 1968 with original members Melome Clement, Bentho Gustave, Amenoudji Vicky Joseph and Bernard "Papillon" Zoundegnon. Seeking to expand and in search of a soul singer, Bentho and Papillon persuasively lured a certain Vincent Ahehehinnou from Daho Jazz, a band with little prospect of major success that often performed in seedy venues. Due to changes in producers and financiers, Orchestre Poly-Disco switched its name to Orchestre El Ritmo before finally establishing themselves as Orchestre Poly-Rythmo de Cotonou after signing with Adissa Seidou, the owner of the Albarika Store label, in 1969. Influenced heavily by Fela Kuti, Vincent, who by this time had transformed himself into an Afrobeat and funk specialist, perhaps Benin's best, soon became a supremely influential member of Poly-Rhythmo and was approached by Albarika to record a 7-inch single. Realizing the band's preeminence on the African music stage, Vincent believed the time was ripe to follow in the footsteps of African music greats and record a full album instead. A deal was subsequently struck with the label for a production fee of 320.000 CFA - about 500 Euros given today's exchange rates.

The band took advantage of their producer's cross-border contacts and traveled from Cotonou to Lagos, which possessed better-equipped studio facilities, to record their first LP consisting of four heavy Afrobeat tracks, wholly composed by Vincent Ahehehinnou himself, in 1973. In fact, the four track-LP was recorded twice. Albarika rejected the first recording because of far too much background noise - the possible culprit being an obnoxious organ amplifier - forcing another recording to be done. The second recorded session met expectations and made it as the official vinyl release. That recording remains not only one of Benin's rarest LPs but one of its best works of music, setting the standard for all future Poly-Rythmo releases and firmly cementing the band and Vincent's reputation.

The test-pressing of the rejected first recording was found and Analog Africa founder, Samy Ben Redjeb, chose two tracks from each recording. The two remastered tracks from the rejected recording are being exclusively released for the very first time on the recording you are holding.

Vincent has acknowledged that his entire life, including that of his family's, revolved around and is owed to Orchestre Poly-Rythmo. The Afrobeat mastermind left his beloved band on May 28, 1978. He chose not to reveal the reasons for his departure.

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Artists: ROB
Title: Funky Rob Way (1977)
Catalogue number: AACD-DE02/AALP-DE02

Track-listing:

1. Funky Rob Way 6:15
LISTEN HERE
2. Forgive Us All
3. Boogie On 4:13
LISTEN HERE
4. Just One More Time 7:45
LISTEN HERE
5. Your Kiss Stole Me Away 5:24
LISTEN HERE
6. More 5:15
LISTEN HERE

Rob "Roy" Raindorf is one of the most enigmatic artists to come out of Ghana. Born in Accra in 1949, he appeared from nowhere with a unique and twisted sound. An admirer of American artists Otis Reading, James Brown, Wilson Pickett and Ray Charles, Rob began his trade by learning the piano at a music school in Cotonou, Benin. When his education ended, he ventured out to make what money he could by getting gigs with the movers and shakers of the Beninese music scene, namely Orchestre Poly-Rythmo as well as the Black Santiagos. Absorbing and learning the intricacies of music composition, Rob returned to Ghana where he began to write his own songs and eventually sought the backing of a band, specifically one which possessed horns. In 1977, a young Rob travelled to the city of Takoradi in western Ghana to approach an army band named Mag-2 whom he had seen perform in Accra. Mag-2 had an entire section of its ensemble dedicated to horns and some of the most sophisticated music equipment available in Ghana at the time - Hofner guitars, Yamaha keyboards and the like. Belonging to the "magnificient" second battalion of the Takoradi-based army unit, original founder Amponsah Rockson decided to aptly name the band "Mag-2." Joining the army during the 1970s was often an easy decision, particularly for musicians, since the army provided not only good music equipment but basic services such as food and medical care.

Mag-2 was essentially filled with the best elements of "The Parrots," a highlife band in which Amponsah was the lead guitarist. Their primary task was to entertain soldiers and with the army tour bus, perform from town to town as well as in reputable venues in the captial. Enticed by the style of music Rob had proposed, Mag-2 backed the Ghanaian sensation on two of his most astonishing records - his first and second albums - "Funky Rob Way" and "Make it Fast, Make it Slow," both of which were recorded at Essiebons studios in Accra.

Despite Rob's training and musical education, Amponsah was responsible for the vast majority of the compositions, such as building the chord progression and arranging the horns that Rob craved. Rob would even wait for the Mag-2 maestro's cue to begin singing.

There were early successes but a once-unflinching interest in Afrobeat began to wane by the early 1980s and Disco Boogie rapidly became the vogue style around which label owners and music producers sought to capitalize upon. The style Rob had shaped his career around was in decline and an adequate income consequently became a major concern, forcing him to travel to Hamburg, Germany in search of a financial backer.

ANALOG AFRICA No.9 - Angola Soundtrack - The Unique Sound Of Luanda (1968-1976)

2010-10-23T10:37:00.001-07:00

Release Date:
November 22, 2010

On its ninth release Analog Africa unearths musical gems from Angola, the former Portuguese colony in south central Africa. The compilation 'Angola Soundtrack' includes tracks from 1968 – 1976, arguably the golden era of Angolan music.

Angolan music is truly unique and stands on its own as a sound that can only be found in that part of the world. Rhythms such as Rebita, Kazukuta, Semba and Merengue, all of which are presented on 'Angola Soundtrack', might be unfamiliar to most listeners, but they are superbly melodic, highly danceable, hypnotic, raw, quintessentially beautiful - and totally addictive.

A powerful confluence of traditional rhythms from Luanda’s islands, psychedelic guitar sounds imported from neighbouring Congo, Latin grooves, old school Caribbean merengue and the hard beat of the Angolan carnival bands conspired to create the modern music of Angola. These sounds were immortalized by two excellent recording companies - Fadiang (Fábrica de Discos Angolano) and Valentim de Carvalho.

The nascent Angolan music scene was set on fire by a small group of courageous singers, backed by an array of super tight bands and led by extraordinary guitarists who revolutionized the musical and the political panorama of the 60s and 70s. These great electric bands of Angola were a well-kept secret until the late 90s when France-based music label Buda Musique released a short-lived series of Angolan music compiled by Ariel de Bigault. Inspired and taken aback, these releases proved to be crucially influential to Analog Africa’s founder Samy Ben Redjeb:

“Listening to Angolan music suddenly became part of my daily life and when my label was founded a few years later, the idea of releasing an Angolan compilation was never too far away from my mind.

From the nine Analog Africa releases thus far, 'Angola Soundtrack' has been the most difficult to create. The travel visa was in itself a struggle and logistically and financially Luanda is a nightmare. After two unsuccessful years, I eventually found shelter at a home in Prenda, a musseque (township) outside of the capital. I had come to this former Portuguese colony to meet my favourite Angolan musicians, to convey my love and admiration for what they have created, as well as license some of my favourite tunes for my label while documenting their story.

I had no idea what to expect from the trip - more than once was I told to expect complicated situations, and that if I thought I knew Africa, I should wait until I experience Luanda. I was prepared for the worst. To my surprise I encountered an amazingly positive vibe and, except for heavy traffic jams and high costs, I am entirely grateful of my Angolan experience.

With the support of Zé Keno (Photo above), the legendary guitarist of Jovens Do Prenda, I managed to meet most of the composers of the songs featured here. The numerous anecdotes they provided are presented in the 44-page booklet that comes with this compilation.”

Track-listing:
Mamukueno - “Rei do Palhetinho” 3:10 LISTEN HERE
Os Kiezos - “Comboio” 3:35 LISTEN HERE
Jovens Do Prenda - “Ilha Virgem” 3:45 LISTEN HERE
Zé Da Lua - “Ulungu Wami” 2:50 LISTEN HERE
Os Bongos - “Pachanga Maria” 3:20 LISTEN HERE
Dimba Diangola - “Tira Sapato” 2:55 LISTEN HERE
Santos Júnior - “N´Gui Banza Mama” 4:25 LISTEN HERE
N´Goma Jazz - “Mi Cantando Para Ti” 3:35 LISTEN HERE
Ferreira Do Nascimento - “Macongo Me Chiquita” 3:50 LISTEN HERE
David Zé - “Uma Amiga” 2:40 LISTEN HERE
Jovens Do Prenda - “Farra Na Madrugada” 4:45 LISTEN HERE
Os Korimbas - “Sémba Braguez” 4:20 LISTEN HERE
Dimba Diangola - “Fuma” 4:08 LISTEN HERE
Alliace Makiadi - “Passeio por Luanda” 3:50 LISTEN HERE
Os Bongos - “Kazucuta” 3:20 LISTEN HERE
Quim Manuel O Espirito Santo - “Eme Lelu” 5:02 LISTEN HERE
Africa Ritmos - “Pica O Dedo” 4:00 LISTEN HERE
Africa Show - “Massanga Mama” 5:35 LISTEN HERE

WARNING: Listening to these tracks may cause addiction and provoke heavy rotation.

ANALOG AFRICA No.8 - Afro-Beat Airways (Ghana & Togo 1972-1979)

2010-07-19T13:48:00.000-07:00

Organ-driven Afro-beat, cosmic Afro-funk and raw, psychedelic boogie… just some of the flavours to be found on this highly danceable compilation by Samy Ben Redjeb, founder of Analog Africa.

To document these 14 irresistible tracks and the music scene from the’70s, Samy crisscrossed the lengths of Ghana and Togo in search of the producers and artists – or their relatives. In the process he recorded a dozen interviews, scanned 90 pictures and transferred 120 master tapes.

All the evidence can be seen in the 44-page full colour booklet (see pictures below) accompanying these 73 minutes of heavy West African sounds. Afro-Beat Airways showcases an amazing diversity of local rhythms spiced with Afro-American funk, soul and jazz.

Samy Ben Redjeb, in his own words:

"Somehow this project started at Frankfurt airport when I accidently checked in the bag which contained my passport. The flight to Angola (via Addis Ababa) was delayed and the plane´s belly emptied in an attempt to find my luggage. Unfortunately, this was never found. As a consequence, I had to cancel my trip. I was at the Ethiopian Airlines offices the next morning (where this episode had become legend) trying to rebook my flight to Luanda, but everything was fully booked for weeks. I was told that if I wished I could selected another destination. The choices? Kinshasa, Yaoundé, Lagos and Accra. I selected the last, because my connections in Ghana had found some serious stocks of vinyl records, and I thought it might be the occasion to check them out.

"A few days later I´m in Ghana, and as on all my previous trips to Accra the first person I paid a visit to was producer Dick Essilfie-Bonzie, who I simply call Mr Essiebons, after his legendary label, Essiebons Records. Everything happens for a reason because the disappointment of missing my flight to Angola was soon replaced by excitement. Mr Essiebons explained that after more than a decade of being out of business he had decided "to give it another shot" and thus digitised all his master tapes for future releases. He then showed me the result – a box containing approximately 80 CDs, each with a track listing,– a total of 800 songs. I was allowed to take the "surprise" box to my hotel room and started listening. I had no idea what to expect, but I was in for a treat. Previously unreleased material by Apagya Show Band and Orchestre Abass were the first few amazing tracks that I discovered and that’s when I decided to start working on this compilation."

The whole selection of songs was completed about a year later and now that I knew which tracks were going to be included, I decided to dedicate some time to find the artists for interviews and research. December 2008 and May of 2010 were solely dedicated to that process, as I flew to West Africa to meet Rob, Ebo Taylor, Nana Ampedu (founder of the mighty African Brothers Band), Issac Yeboah (lead singer of Vis-a-Vis, one of Ghana´s most impressive bands), Gyedu-Blay Ambolley (the personification of Ghanaian Afro-funk), saxophonist Ray Allen, Chester Adams (lead singer of the Uppers International) and few others. I did extensive interviews with all of them and managed to collect amazing pictures to document the liner notes that accompany the music."

"While some light has been cast on the Ghanaian music scene of the 1970´s, Togolese music is relatively obscure and badly documented. However, we are working on this! In fact, we’ve already made a start, with our previous Analog Africa compilation "African Scream Contest" which showcased 3 Togolese artists. Afro-Beat Airways presents two more – Orchestre Abass and Cos-Ber-Zam. While the first band developed into one of the country´s best, to such an extent that none other than Fela Kuti once offered them a contract to play at his Afro-Spot night club (which later became The Shrine), the second artist was a one-hit wonder. “Né Noya” was a monster hit in Togo but it is to date the only release by this obscure artist. The reason why I decided to include these Togolese tracks on this compilation is that they were all recorded in Ghana and thus they worked well in the mix."

Afro-Beat Airways is a time capsule, and promises to take you on a fascinating musical journey through West Africa´s vintage Afro Sounds.

AFRO-BEAT AIRWAYS - West African Shock Waves
Release date: 03.08.2010

1. Dankasa - Uppers International 3:36
2. Ma Nserew Me - Apagya Show Band 4:03
3. Me Yee Owu Den - K.Frimpong & His Cubano Fiestas 8:52
4. Break Through - Marijata 5:06
5. Odofo Nyi Akyiri Biara - Ebo Taylor & The Sweet Beans 9:54
6. Awula Bo Fee Ene - Orchestre Abass 3:45
7. Live in Other World - Itadi 5:05
8. Mumunde - Apagya Show Band 3:02
9. More - Rob 5:13
10. Né Noya - Cos-Ber-Zam 4:10
11. Afe Ato Yen Bio - De Frank Professionals 4:41
12. Ngyegye No So - African Brothers Band 6:17
13. Neriba Lanchina - Uppers International 4:04
14. Come Along - Ebo Taylor & The Pelicans 5:59

Anibal Velasquez - Mambo Loco Video Clip

2010-03-14T05:17:00.000-07:00

This video clip was made using footage shot at Anibal´s house and using some sequences from a documentary about colombian costal music called "Colombian Gold" by film maker Sanjay Agarwal (which will be released in June/July 2010). We also used some pictures from the "Mambo Loco" compilation which is going to be released on April 12th....Enjoy!!

Spread the word and forward the clip to your friends.
Thanks for the support
Samy

PS: Anibal and his band, Los Loco del Swing will be doing their first european tour in June 2010. In case you would like to invite the group for a crazy gig send us an mail: info@analogafrica.com

Orchestre Poly-Rythmo de Cotonou - Se Ba Ho

2010-02-23T04:19:00.000-08:00

In time For the African Soul Rebel Tour Analog Africa is proud to present a new Video Clip of Orchestre Poly-Rythmo de Cotonou.

"Se Ba Ho" is the opening track from the new compilation "Echos Hypnotiques" and it is without doubt one of the most powerful "Sato" (a vodoun rhythm played during burial ceremonies) tracks ever recorded. This Video was realised by Petra Schroder and Dirk Von Manteufel from the company Sosumi - the same guys responsable for all the amazing graphics included in the Analog Africa Booklets.....We hope you like!

ANALOG AFRICA No.7 - Anibal Velasquez y Su Conjunto

2009-12-07T11:57:00.000-08:00

Mambo Loco
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1. Carusseles
2. Los Vecinos
3. Cecilia
4. Mi Cumbia
5. Que Paso
6. Vestido Buevo
7. Mambo Loco
8. Cumbia Bogotana
9. El Pecheche
10. Santo Amor
11. Mi Sombreron

Nestled between the Caribbean Sea and the Rio Magdalena, lies the city of Barranquilla. Hailed by its locals as Colombia’s “Puerto de Oro” or Golden Gate Barranquilla has served as a gateway for “Caribbean Tropical Sounds” for almost a century. Home to the countries biggest cultural celebration, El Carnaval, and the birthplace of the radio and recording industry in Colombia, Barranquilla has always been a city deeply rooted in musical traditions. Its port-city status, has allowed its citizens to remain up-to-date with the latest grooves coming out of the Caribbean basin; with scores of LPs arriving from Cuba, the Dominican Republic, Mexico, Puerto Rico, and the United States; the city soon became a bastion for musicians and vinyl enthusiasts from all over the world.
Nobody embodies more Barranquilla’s rich musical heritage than the master accordionist Anibal Velasquez. Known affectionately by his fans as “El Mago” (the Magician), Anibal has been one of the most prolific musicians of Colombia’s Musica Tropical movement.

Anibal Velasquez Hurtado was born on June 3rd 1936 in Barranquilla into a musical family. His father was an accomplished musician but Anibal´s biggest influence was his older brother Juan who first introduced him to the secrets of the accordion:

"I knew already how to handle the clarinet, the Guacharaca and other instruments, thats a talent I must have received from my father. Barranquilla has always been a musical city, but when I started to play the accordion, the instrument was not very popular, It had not become part of Costeno culture as it was considered a second-class instrument. A bit foreign and awkward, used primarily by campesinos in rural towns off the banks of the Rio Magdalena - but we´ve changed that. One of the turning points was an encounter with Robertico Roman a musician from Cartagena who I´ve met in a record store on a rainy day. We both had a deep love for Cuban Music and he often came to my place where we jammed. Its with Robertico Roman that I founded my first band called "Vallenatos de Magdalena". I made my first recording with that band in 1952. Four songs were recorded including a track called La Gallina, which became a huge hit. It really spread the costal sound toward the center of the country".

With the death of band-mate Robertico in 1955, los Vallenatos de Magdalena had to disband. Without a band, Anibal was forced to take a job as a session musician for disco Eva working for a group called “El Conjunto Colomboy.” He remain with disco Eva through out the end of 1950s working closely with the great Costeno Master Lucho Campilo. By 1960, together with his elder brother Juan and younger brother Jose, Anibal decides to form a new group. This new formation would prove to be his best decision. His brother Jose –a gifted musician in his own right- would soon become his right hand, enabling Anibal to add a new dimension to his playing style. Jose began experimenting, incorporating new instruments, and re-inventing old rhythms. He would break the rules; replace traditional bongos used Cuban Guaracha and Rumba, with a traditional Colombian drum called “La Caja.” This uncanny drum –made from x-ray film (radiografias medicas) - combined with Anibal’s powerful accordion was to become a sensation, generating a much harder and dryer sound than the traditional leather skin drums.

“It was a new style… we could not play traditional Cuban rhythms because some combinations simply did not work with the accordion…it was then then my trademark stlye emerge…the Guaracha de Anibal Velazquez."

Anibal’s new guaracha style was infectious; it was fast and furious, often leading his crowd into a state of frenzy.. The interest for Anibal´s new innovative sound started growing, and recording offers started to pour in. Anibal would enter his most product period.

“that is when I met with Antonio Fuentes, who had just started his broadcasting company called Emisora Fuentes in Cartagena. I really enjoyed working with Fuentes because he understood the mind of the musician and gave us lot of creative freedom. Encouraged by his attitude I began by playing different styles adapting regional elements to the accordion. I would play cumbia, merecumbe, Mapalé, Pompo, and corrido and later also began to incorporate Cuban and Puerto Rican elements into my music." Anibal was on fire. His time at Fuentes studios would be short lived, and he soon began recording on every label that existed in the coast. As he himself would go on to say “I started recording for various record labels, I didn't like to stick to one only, so they dubbed me "Anibal Todo Sello" (Anibal all labels)”

The music industry in the coast was experiencing a “boom” and recording studios were popping throughout the coast. It was in many ways the golden decade of the Musica Tropical movement. Lucho Bermudez and Estersita Forrero had taken the genre into new heights spreading the warm tropical sound of the coast to Bogota and reaching as far Cuba and the United States.

“I recall playing in a small venue called "Mi Kioskito" here in Barranquilla. I was playing there every week and all the great musicians of this country would appear one after the other; Pacho Galan, Rufo Garrido, Pedro Laza , Michi Sarmiento…Costeno music was taking over the country and we were pioneering a new movement, a new identity for Colombia - Those were amazing times. ”

Anibal began to have an impressive amount of follower, drawing huge crowds wherever he went. Anibals guaracha sound was spreading like wild fire. Alarmed by Anibals great success and ability to sell records, Antonio Fuentes, began to devise a new super group called Los Corraleros de Majagual. This new group would be made up by many of his devoted followers such as Alfredo Gutierrez, Lisandro Meza, Ernesto Estrada (aka Fruko) and Calixo Ochoa to name a few.
The rivalry between the two bands came to an abrupt end with the arrival of the drug-cartels. By the mid-1960s, music in La Costa began to change drastically. With the onset of the hippie movement in the United States and America’s new found craving for marijuana, Colombia’s Caribbean Coast had become a main trafficking hub. A new economy of drugs had emerged in the coast and with it a style called Vallenato rose to prominence. It’s distinct accordion sound and bleusy appeal made it a favorite among drug lords and Mafiosos alike, eventually becoming the soundtrack for their feverish life-styles. According to Anibal:

“for a short period, people found happiness in the new economy of drugs and Vallenato had became the manifestation this new found happiness.” This new brand of prosperity was soon followed by a dramatic upsurge in drug-related violence.Drug Cartels ruled the streets and people did not feel safe. Life changed and so did the music. The Drug-lords delighted in the accordion and the instrument soon become a trademark in local festivals and public gatherings. Vallenato was everywhere. I quickly began to redefine my playing style because I became bored with Vallenato mostly because its lyrical content had become decadent and too closely associated with violence. So while everybody became slower to impress the drug lords I began to play faster.”

By the 1970s the level violence in the coast had grown to unprecedented heights, and Vallenato had become king. Fed up with the current state of affairs Anibal decided to pack his bag and move to Caracas, Venezuela where he remained for 18 years until finally returning back to his beloved Barranquilla in the late 80s.
“Caracas was extremely good for me. I was able to focus on music and forget the madness of the coast. I made a lot of music in Venezuela, recording over 150 LPs."
It is said that Anibal Velasquez recorded 300 LPs throughout his remarkable career.

Anibal’s contribution to Colombia’s Musica Tropical Movement cannot be forgotten. His ability to play music that was joyful and percussive, with lyrics right out of everyday life, while at the same time championing new sound, has made him into one of the few living legends of Colombia’s glorious musical past.

Many of the tracks presented here have set fire to more then one dance-floor and have become essential during Analog Africa Dj Sets. We are now very proud for the opportunity to bring this sound to you.

ANALOG AFRICA No.6 - Orchestre Poly-Rythmo de Cotonou - Vol.2

2009-10-10T08:32:00.001-07:00

"The riches of Vodoun rhythms are of such magnitude that one would never get to the bottom of it - we've tried"
Vincent Ahehehinnou - Lead Singer
.................................................................

Release Date October 26th, 2009
"Echos Hypnotiques"

Four years in the making, Analog Africa finally presents the second volume of Africa's funkiest band, the mythical
Orchestre Poly-Rythmo de Cotonou.

What had started as a children entertainment group became one of the greatest bands of their era. Volume One was a collection of amazing LO-Fi recordings produced for various labels around Benin. Volume Two showcases superbly recorded tracks, courtesy of the EMI studios in Lagos, one of the best studios in the region. All tracks here were recorded for the mighty Albarika Store label and its enigmatic producer, Adissa Seidou.

The idea for this compilation was born 5 years ago when Samy Ben Redjeb, founder and compiler of Analog Africa, received the addictive funk track Malin Kpon O released in 1975 on the Albarika Store Label. That discovery triggered the compilers curiosity and what followed was a long journey through the musical history of Benin and the history of its most important ambassador, Orchestre Poly-Rythmo de Cotonou.

The 4 year journey involved criss-crossing Benin, Togo and Niger trying to lay hands on the bands recording output which was found in record stocks and had laid untouched for a quarter of a century, reviewing reels and master tapes at the headquarters of Albarika Store, conducting interviews with all the living members of the band, searching for pictures of the Orchestra and licensing the music from the composers and producer. The result: approximately 100 pictures, 120 master tapes, 20 hours of interviews and a few hundred Orchestre Poly-Rythmo vinyl records - 500 songs in total - some of which were previously unreleased.

Almost half of those tunes were recorded for Benin's No.1 label - Albarika Store.
15 out of 200 tracks were carefully selected for this compilation which comes with a massive 44 page-booklet stuffed with amazing pictures of the band and its members, a complete discography and a biography tracing the history of the bands from its foundation as Groupe Meloclem in 1964 via Sunny Blacks band (1965), Orchestre Poly-Disco (1966), El Ritmo (1967) and finally Orchestre Poly-Rythmo de Cotonou in 1968.

During the period presented here - 1969 to 1979 - the mighty Orchestra was without any doubt one of Africa's most innovative group. Capable of playing any style of music, the band moved from Traditional Vodoun Rhythms to Funk, Salsa or Afro-beat seamlessly and quickly became the powerhouse of Benin's music scene, backing most of Africa's stars touring the country such as Manu Dibango, Ernesto Djedje, Bella Bellow as well as supporting an array of local composers such as Honore Avolonto, Antoine Dougbé and Danialou Sagbohan.

Given the size of the tiny country one could think that Poly-Rythmo must have been too big a fish for such a small pond, but the more one understands Benin's culture and traditions the more it appears that a phenomenon such as Orchestre Poly-Rythmo couldn't have happened anywhere else. Some of the planets most exciting rhythms are related to the complex Vodoun Religion born in Benin. Those rhythms, supported by chants and dances, have been transmitted from generation to generation and are still being performed to this date - a few hundred years after they were created. The composers and arrangers of Orchestre Poly-Rythmo understood that they were surrounded by a gold mine of inspirational sounds which, if modernised and mixed in with whatever was in fashion at that particular moment, could have a strong impact on the urban population.

Those astonishing combinations can be heard here: Afro-Beat, Sato, Funk, Sakpata, Psychedelia and Latin sounds all mixed into a heavy hypnotic Sound - Les Echos Hypnotiques.

"Drums, bells and horns are the fundamental instruments used during our traditional Vodoun rituals - we added guitars and Organs - we modernised those ancients rhythms and combined them with western genres that were on vogue at that time".
Melome Clement - Founder of Orchestre Poly-Rythmo

1. Se Ba Ho
2. Mi Ve Wa Se http://www.myspace.com/analogafrica
3. Azon De Ma Gnin Kpevi
4. Noude Ma Gnin Tche De Me
5. Ahouli Vou Yelli
6. Gan Tche Kpo
7. Malin Kpon O http://www.myspace.com/analogafrica
8. Mede Ma Gnin Messe
9. Agnon Dekpe
10. Zizi http://www.myspace.com/analogafrica
11. Ma Dou Sou Nou Mio
12. Koutome
13. Houe Djein Nada
14. Minkou E So Non Moin

ALL TRACKS OFFICIALLY LICENSED

Ebo Taylor in Frankfurt (18.07) and Paris (17.07)

2009-06-28T15:13:00.000-07:00

Ebo Taylor for the first time live in Europe!

The AFRICADELAY-Party, taking place at the Schwedlersee on July 18th promises to be a cultural Highlight and a sensation for all lovers of Afro beat, Highlife and Afro jazz. Ebo Taylor, the legendary composer, arranger and musician from Ghana will take the stage for the first time in Europe, together with members of The Poets Of Rhythm, Kabu Kabu, Afrobeat Academy and Kologbo, guitarist for Fela's Afrika 70!!

The gig will be followed by a crazy DJ set, courtesy of Pedo Knopp and Samy Ben Redjeb who just returned from a three months trip through Africa and South America. Expect a heavy brew of soundz from Angola, Benin, Venezuela, Ghana, Peru, Ethiopia, Colombia, Congo, Sao Tomé, Cap Verde.....y mas!!!

Ebo Taylor - Bio

The exceptional guitar player is considered as one of the most distinguished Highlife, Afro beat and jazz composers of Ghana. Between 1962 and 1965 he studied together with his friend Fela Kuti at the renowned Eric Guilder School of Music in London. As early as the 50th and 60th he caused quite a sensation as the head of the Stargazers Dance Band as well as the Broadway Band. In the early 70th he headed the best known Big Band of Ghana, the “Uhuru Band” (later called Uhurus) and so formed the Highlife.Since the 70th Taylor produced different albums as solo artist and developed more and more his own, innovative and distinctive style – recognisable for instance on his albums

“Ebo Taylor and the Pelicans” or “Twer Nyame”. Ebo has been very active in numerous projects as session musician. Besides his solo works, he contributed significantly to the development of music in Ghana, as arranger and producer to the big labels in Ghana, like Essiebons and Gapophone. For these labels, being their musical director, he produced i.e. well known musicians such as C.K. Mann as well as the Apagya Show Band, a legendary All-Star-Highlife-Funk-Band, or artists like Pat Thomas, Jewel Ackah and Papa Yankson.

Mr George Prah (Gapophone Producer) and Ebo Taylor in Accra - June 2009

Concert in Paris

This gig is organized by two heavyweights: Djouls of ParisDJ and Loik Dury.
These two guys who have been at the forefront of the afro music scene for a very long time have been instrumental in making African music a force to be reckon with.......Respekt!!
Click here for more information about Ebo Taylor´s gig in Paris (Check the nice Mix)

Dick Essilfie Bondzie (Essiebons Producer), Samy Ben Redjeb (Analog Africa) and Ebo Taylor in Accra - September 2008

ANALOG AFRICA No.5 - Legends Of Benin

2009-03-23T14:23:00.001-07:00

A collection of super rare and highly danceable masterpieces recorded between 1969 -1981 by four legendary composers from Benin:
ANTOINE DOUGBÉ
EL REGO et Ses Commandos
HONORÉ AVOLONTO
GNONNAS PEDRO & His Dadjes Band
each one of them with their own distinctive sound. This compilation comes with a 40 page full colour booklet with ultra rare pictures and biographies. Fasten your seat belt and enjoy the mind-blowing sound of Benin. (more details in the days to come)

RELEASE DATE: May 15th 2009
ALL TRACKS OFFICIALLY LICENSED

1. Dadje Von O Von Non - Gnonnas Pedro & His Dadjes Band LISTEN HERE
2. Feeling You Got - El Rego et Ses Commandos LISTEN HERE
3. Honton Soukpo Gnon - Antoine Dougbé LISTEN HERE
4. E Nan Mian Nuku - El Rego et Ses Commandos LISTEN HERE
5. Tin Lin Non - Honoré Avolonto & Orchestre Poly-Rythmo LISTEN HERE
6. Okpo Videa Bassouo - Gnonnas Pedro et Ses Panchos LISTEN HERE
7. Ya Mi Ton Gbo - Antoine Dougbe & Orchestre Poly-Rythmo LISTEN HERE
8. Nou Akuenon Hwlin Me Sin Koussio - Antoine Dougbé LISTEN HERE
9. Djobime - El Rego et Ses Commandos LISTEN HERE
10. Na Mi Do Gbé Hué Nu - Honoré Avolonto LISTEN HERE
11. Vimado Wingnan - El Rego et Ses Commandos LISTEN HERE
12. Dou Dagbé Wé - Honoré Avolonto & Black Santiago LISTEN HERE
13. Kovito Gbe De Towe - Antoine Dougbé LISTEN HERE
14. La Musica en Verité - Gnonnas Pedro & His Dadjes Band LISTEN HERE

Analog Africa Selection Vol.2

2008-11-21T08:19:00.001-08:00

This mix was originally done for The Wire Magazine Website. But not only did I want to avoid the mix getting lost in "the universe of data" after it has been remove from the Wire's front page but more importantly I wanted you guys, who have been so supportive of my label, to enjoy it as well.

The week I was about to finish the mix I got a message from Julien from www.parisdjs.com one of Europe´s best website when it comes to sharing our passion for worldwide dancefloor oriented music, asking me if I would like to send him a Mix for his site.

So I wrote to the Wire to make sure all is cool and we agreed that they will have it for a week exclusively and that Julien and myself will make it available later. The Wire kindly offered to pay me for the mix but I thought it would be fair to decline the offer.

The initial idea was to make a pure West African Afro-beat/Afro-Funk mix, as I guessed they wanted something that reflected what I was releasing but then, while selecting the tracks, I bumped into few titles from Ethiopia, Angola and Guinea that I have been enjoying a lot in recent months and decided to add them as well.

This mix is also an occasion to celebrate "the Vodoun Effect" Compilation by Orchestre Poly-Rythmo de Cotonou which has been released in France today and will be available in the rest of Europe and in the USA at the end of November.

The mix contains a slower version of the Poly-Rythmo killer track "Se Tche We Djo Mon"

I hope you´ll enjoy it !!!
(S)

ARE YOU SEATED? CLICK HERE

ANALOG AFRICA No.4 - Orchestre Poly-Rythmo de Cotonou

2008-10-22T13:43:00.000-07:00

"The Vodoun Effect" 1972-1975
Funk & Sato from Benin´s Obscure Labels
14 tracks compilation available on CD and double vinyl (Release Date November 3rd)

Few sentences to announce the release of my 4th Compilation. I have been working on this project for a very long time and I must admit its a dream becoming reality now.
It will see day-light on November 3rd in the UK and World-Wide on November 21st!! The CD comes with a MASSIVE 44 pages booklet containing super rare pictures of the band and obscure record covers.

It will be available on October 20th exclusively from Analog Africa, two weeks before the official release date in the UK. If you would like to purchase your copy contact me here: analogafrica@yahoo.com

Spread the Word and MANY THANKS for the support!!

Orchestre Poly-Rythmo de Cotonou is arguably West Africa’s best-kept secret. Their output, both in quantity and quality, was astonishing. During several trips to Benin, Samy Ben Redjeb managed to collect roughly 500 songs which Orchestre Poly-Rythmo de Cotonou had recorded between 1970 and 1983. With so much material to choose from Samy decided to split it into Volume 1 and 2.

While Volume 2 will be material the band recorded under an exclusive contract with the label Albarika Store, the band also “secretly” recorded with an array of smaller labels based around Cotonou, Benin’s largest city, and Porto Novo, the capital city of Benin Republic. It is those tracks (all officially licensed) that are presented here on Volume 1.
The producers of those labels were genuine music enthusiasts, some of them, ran these labels as a part time occupation, with very limited budgets. They couldn’t afford high-quality recordings - all they had to work with was a Nagra (a Swiss made reel-to-reel recorder) and a sound engineer - courtesy of the national radio station. These sessions were recorded in private homes using just one or two microphones.

The cultural and spiritual riches of traditional Beninese music had an immense impact on the sound of Benin’s modern music. Benin is the birthplace of Vodun (also Vodoun, or, as it is known in the West, Voodoo), a religion which involves the worship of some 250 sacred divinities. The rituals used to pay tributes to those divinities are always backed by music. The majority of the complex poly-rhythms of the vodun are still more or less secret and difficult to decipher, even for an accomplished musician. Anthropologists and ethnomusicologists agree that this religion constitutes the principal “cultural bridge” between Africa and all its Diasporas of the New World and in a reflection of the power and influence of these sounds many of the complex rhythms were to have a profound impact on the other side of the Atlantic on rhythms as popular as Blues, Jazz, Cuban and Brazilian music.

Two Vodun rhythms dominate the music of Orchestre Poly-Rythmo: Sato, an amazing, energetic rhythm performed using an immense vertical drum, and Sakpata, a rhythm dedicated to the divinity who protects people from smallpox. Both rhythms are represented here mixed in with Funk, Soul, Crazy organ sounds and Psychedelic guitar riffs. Bandleader Melome Clement explains: “Sato is a traditional rhythm derived from Vodun. It is used in Benin during annual rituals in memory of the dead; you can’t just play Sato at any given time. Sato is also the name of a drum which is used during the ceremonies. It’s huge: about 175 centimeters high. The drummers, armed with sticks, dance around it and hit it all at the same time. It’s very coordinated. The Sato drummers are backed by an orchestra of smaller drums and shakers. We also did some modern versions of a Vodun rhythm called Sakpata. ‘Mi Ni Non Kpo’ and ‘Houi Djein Na Da’ are Sakpatas, which in Fon means "god of the Earth".

None of these tracks (except one –Mawa Mon Nou Mio) has been distributed outside Benin before. These obscure coastal labels had a small distribution range, that barely reached beyond the outskirts of Cotonou or Porto Novo. Because of financial considerations most, if not all, of these recordings had very limited pressings that rarely exceeded one thousand copies total and many labels rarely produced more than 500 copies of any given record.
The music in this compilation is not only extremely rare, but illustrates how Orchestre Poly-Rhythmo with the support of a number of local record labels, thrived by mixing the coolest parts of funk, soul, latin and vodun rhythms into a new sound that not only reflected the musical culture and heritage of Benin, but also transformed it and turned the small country into such an incredible musical melting pot.

In the 44-page booklet, full of rare photographs and record covers, Analog Africa introduces three important producers who were collectively responsible for some of the most amazing music released in Benin: Gratien K. Aissy of the Echos Sonores du Dahomey label, Bernard Dohounzo of Disques Tropiques, Lawani Affissoulayi of Aux Ecoutes (the label behind El Rego & Ses Commandos’s fame) as well as en encounter in Niamey with Honliasso Barnabé, Poly-Rythmo´s Producer in Niger. Samy Ben Redjeb also interviewed Vincent Ahehehinnou, the man responsible for composing some of the funkiest stuff ever to come out of Benin, and Kineffo Michel, the sound engineer of Poly-Rythmo’s legendary Nagra "home" recordings.

This fourth Analog Africa release of forgotten musical gems from 70s Africa was once again lovingly compiled by label boss and vinyl collector Samy Ben Redjeb, driven by the wish to keep this extraordinary music alive.

ALL TRACKS OFFICIALLY LICENSED
(Some tracks can be heard in full HERE)

1. Mi Homlan Dadalé
SAMPLE1 - LISTEN HERE
SAMPLE2 - LISTEN HERE
2. Assibavi
3. Se We Non Nan
SAMPLE1 - LISTEN HERE
4. Ako Ba Ho
SAMPLE1 - LISTEN HERE
SAMPLE2 - LISTEN HERE
5. Mi Ni Non Kpo
SAMPLE1 - LISTEN HERE
6. Se Tche We Djo Mon
SAMPLE1 - LISTEN HERE
7. Dis Moi La Verité
SAMPLE1 - LISTEN HERE
8. Nouessename
SAMPLE1 - LISTEN HERE
SAMPLE2 - LISTEN HERE
9. Iya Me Dji Ki Bi Ni
SAMPLE1 - LISTEN HERE
SAMPLE2 - LISTEN HERE
10. Akoue Tche We Gni Medjome
11. Nou De Ma Do Vo
12. Koutoulie
SAMPLE1 - LISTEN HERE
13. Kourougninda Wende
14. Mawa Mon Nou Mio

Orchestre Poly-Rythmo de Cotonou - Gbeti Madjro

2008-06-25T19:08:00.001-07:00

Here a little "summer present" for all the people who have supported Analog Africa in recent years.
2008 has been a very exciting year and a humbling experience, thank you!!
This video was especially edited by Mario Stahn (from Rockstahn Media in Frankfurt) for Analog Africa using 45 minutes of video material found in various places in Africa. One of them I got in Niamey and shows Orchestre Poly-Rythmo performing Gbeti Madjro in front of "La Voix du Sahel", Niger´s state owned broadcaster.

Zexie Manatsa´s legendary Wedding

2008-05-02T15:21:00.000-07:00

For the last three years I have spend most of my time listening and writing about Afro Beat and Afro Funk related music and I have to admit that listening to more traditional African Music by the Green Arrows (and Orchestre Poly-Rythmo) recently has been an incredible breath of fresh air. Their music is deeply anchored in my soul and I´ve come to realize how much that band means to me.

I´ve discovered their music 10 years ago in Harare and I still cant hold my jaw dropping when listening to the way the instruments interact.....it´s absolutely impressive.
I believe it has to be one of the tightest African bands I´ve ever had the chance to hear. (this might sound like a promotional post for the Green Arrows compilation but I have been out of stock for months now and I do not think the demand would justify manufacturing some more....less then 800 copies sold in Europe mind you)

I travelled to Benin in 2005 to met the musician of Orchestre Poly-Rythmo and one of the first thing I did was to offer them my Green Arrows compilation so that they can have an idea of what I was planning to do. Lohento Eskill & Melome clement whom I met again few days later, had spend a whole evening listening to the compilation at Bentho Gustave house and they were astonished by the way the Bass guitar was handled. I heard the same comments from Mulatu Astatke and Roger Damawuzan.

This might be the first time you ever heard of Zexie Manatsa but in Zimbabwe Zexie was a Legend and one of Africa´s most amazing bass player, an instrument he had learned to play on an acoustic guitar. Self taught, Zexie played his instrument in a way I rarely heard before. Some of my friends who study Jazz music at the university of Mainz were saying that he was actually Zig-Zaging between the other instruments notes (Whatever that means) and they couldn´t figure out how he was doing it. After 10 years composing amazing tunes, including some revolutionary tracks for which the band was emprisoned and tortured, Zexie became such an icon that when he decided to get married to Stella, the woman who has been by his side for more then a decade, they though of celebrating the event at Harare´s Rufaro stadium on August 29th, 1979.

In the liners notes for the Green Arrows release I wrote:
"It was one of the most memorable events ever to take place in Salisbury. The festivities took place at the national Rufaro Stadium where a huge concert took place, with some of the most important bands in the country performing in honour of one of the legends of Zimbabwean music. A crowd of people 60.000 (!!?) packed the stadium. As soon as Stella and Zexie made their entrance, Thomas Mapfumo started performing one of his most popular tunes "Africa". Later that afternoon, things started to get out of hand when Tineyi Chikupo & the Mother Band (Picture Below) started playing the song "Sirivia" (Listen Below....a monster hit in Zimbabwe). The crowd became really wild and started tearing fences apart to get closer to the stage. Two people were hospitalised as a result.

Bishop Abel Muzorewa, who was at that time prime minister of Zimbabwe / Rhodesia, and who was campaigning for the forthcoming elections, had made the mistake of organising a political rally on the same day. Muzorewa later blamed Manatsa for the poor attendance. The Daily Mail had a screaming headline on their front page the following day: “Zexie’s Wedding Spoils Muzorewa’s Rally”.

While writing this I wished I could find some picture to document what was going to be published as my first though was that few would believe this story in the first place. Despite trying hard I couldn´t find any (I manage to find a poster advertising the event though).

When the Green Arrows compilation was released in Zimbabwe I´ve organized a Party at Zexie´s place in Glen Norah. Friends as well as people working for the record industry and few journalist were invited. On that day I offered Zexie the wah-wah (Fuzz) pedal he had been asking for (for the last two years) and I very clearly remember the moment I hand it to him.
It had started raining so all the guests were now sitting in the living room, Zexie had passed my present to Stella to Open it, When she realized what it was she started jumping and shouting wah wah wah wah wah wah!!!.....everybody was steering at her not really understanding what was going on. To make explanation easier she just played the track "Bambo Makwatila" (Listen Below) that when things became clear to everyone. Zexie was literally speechless, it was the first time I saw him close to tears and also the first time I saw him kissing his wife (...I might even have a picture of that)

Zexie´s wish was to re-create the typical sound of the Green Arrows mastered by Stanley Manatsa, his late young brother and without doubt Zimbabwe craziest guitarist. Now Stanley´s blood and Talent was running in Tendai´s veins, Zexie Son, who at the age of 21 was already considered one of the best. (few month later he was already doing some amazing stuff with the wah-wah....I had connected him to Chains, Legendary Guitar player and founder of The Acid Band, who showed him how to handle it)

Anyway at the end of the Party Zexie asked me to follow him into his bedroom (sacred place) Stella was sitting on the bed with a picture Catalog on her knees. "There is something we would like to show you" she said. I sat between the two. When she opened the book I could hardly believe my eyes: Pictures of Zexie and Stella in their wedding dresses, walking as if it was the most natural thing in front of a crowd of 60.000 fans........so the whole legend was real, I thought.

TINEYI CHIKUPO & THE MOTHER BAND - Sirivia......LISTEN HERE (Recorded from the original master tape)
THE GREEN ARROWS - Bambo Makwatila..................LISTEN HERE

Analog Africa Selection Vol.1

2008-03-16T18:42:00.000-07:00

This mix is to celebrate the release of our compilation "African Scream Contest" which is going to be released in the UK tomorrow, March 17th 2008 and few weeks later in the other territories. I had initially made this mix to promote the crazy Africadelay party in Frankfurt on myspace (www.myspace.com/africadelay) .
The response was such that I decided to make it more accessible via my blog and Julien´s (a.k.a Djouls from Parisdj.com) website where you´ll find a mastered version. The one here is the raw and original one....you now can have both. This is a selection of tracks I found during my last three months trip which took me to five African countries. This is the first Volume....do let me know if you´d want me to carry on. (S)

Fasten your seatbelts then CLICK HERE
Special thanks to Phabao

ANALOG AFRICA No.3 - AFRICAN SCREAM CONTEST

2008-01-03T13:47:00.001-08:00

Raw & Psychedelic Afro Sounds
From Benin & Togo 70s
14 tracks compilation available on CD and double vinyl (Release Date March, 2008)

This project initially took off in August, 2005 when I arrived in Cotonou without any special expectations, just hoping to lay my hands on few good records.
What I found in the process cannot really be described in words. This first trip was followed by eight more to the region. Thirty Months and a few thousand Records later Analog Africa is proud to present this compilation which comes with a 44 pages full liners notes and features many rare photographs handed to me directly by the artists.

16 interviews were made and recorded in various cities in Benin & Togo with musicians, producers & sound engineers who kindly offered their support to reconstruct the history of the 70s music scene. Composers gave me a detailed biography, hilarious anecdotes and sometimes the story behind their song. (S)
More infos soon...........to contact me directly: analogafrica@yahoo.com
ALL TRACKS OFFICIALLY LICENSED

1.Lokonon André & Les Volcans - Mi kple Dogbekpo
2.Picoby Band D´Abomey - Mi Ma Kpe Dji
3.Gabo Brown & Orchestre Poly-Rythmo - It´s a Vanity
SAMPLE1 - LISTEN HERE
4.El Rego et ses commandos - Se Na Min
SAMPLE1 - LISTEN HERE
5.Napo de Mi Amor Et Ses Black Devil´s - Leki Santchi
SAMPLE1 - LISTEN HERE
6.Orchestre Poly-Rythmo - Gbeti Madjro
7.Roger Damawuzan - Wait For Me
8.Ouinsou Corneille & Black Santiagos - Vinon so Minsou
9.Orchestre Super Jheevs des Paillotes - Ye Nan Lon An
SAMPLE1 - LISTEN HERE
10.Tidiani Kone - Djanfi Magni
11.Discafric Band - Houiou Djin Nan Zon Aklumon
12.Le Super Borgou de Parakou - Congolaise Benin Ye
13.Vincent Ahehehinnou - Ou c´est Lui Ou C´est Moi
14.Les Volcans de la Capital - Oya Ka Jojo

"One of the most satisfying and exciting records of
the year so far."
Music Week

"A thrilling discovery."
The Observer

"An explosive afro-funk collection dripping in the
feel of hot nights in crumbling mud-brick nightclubs."
The Daily Telegraph

"Raucous funk gems from the 1970s."
The Word

"Samy Ben Redjeb has struck black gold here."
Time Out*****

"One of the party albums of the year ... extraordinary
music that mostly never heard in the west."
The Guardian ****

"I can't think of a more invigorating way to start the
day than with this wriggling bag of jagged, ragged 70s
funk."
Songlines ****

"The rawest funk, roughest guitars and squawkingest
saxes."
Mojo ****

"The music lives up to the title: funky electric
guitars, honking saxophones and voodoo rhythms, with
strong influences from soul, highlife and Latin
music."
Evening Standard ****

"Astounding."
Kruger magazine

"Wonderfully eccentric arrangement and tuning ...
Browntastic."
The Wire

"Sterling work."
Observer Music Monthly

"Benin and Togo mixed highlife and nascent Afrobeat
into a psychedelic echo chamber."
Financial Times ****

"An exuberant blend of Cuban, Congolese and high-life
strains, streaked with slithery psychedelic guitar
fills."
The Independent (Independent Music supplement)

"When New York slicksters thought they were at the
centre of the universe - Studio 54, say – these bands
were taking the coolest parts of funk, soul and disco,
reinventing it and, at the same time, transforming
their own music and culture... A lot of the reaction
to West African blues has focused on origins and a
going-back-to-roots, but the groove in Benin and Togo
was far deeper and far more inventive than that."
BBC Music Online

"One funky freak-out of a history lesson."
Straight No Chaser

Charles Rodriguez & His Psychedelic Organ

2007-08-15T05:51:00.001-07:00

It took me months to find Charles Rodriguez but I eventually did. "Samy, I found the guy you are looking for..... what his name again?" On the other end of the line the legendary Melome Clement. "We all knew him, he use to hang at our concerts all the time, but i didn't know his name."
About a year earlier I had bumped into a strange looking single. Strange because it was released with a Decca label Sticker but for another label named Alofty Music, which apparently was a shop in Lagos. I had never heard of that Label before and no one in Nigeria had ever heard of that shop...obscurity was total. The two sides of that single are quite similar, while most prefere Side.1 I had fallen in love with the flip Side, "L´amour ne s´achetes pas" (You can´t buy Love) and its amazing Organ Solo (Listen Below)

Melome and myself took a commuter to Ouidah on the very next morning and met the guy that I have been searching for so long. At the entrance a sign board saying "Bar Charlie". A very happy chap, warmly welcomed us:

"You Know Samy, This Bar use to be hot. I am from a highly regarded family so all the heavy guys who wanted a rest in Ouidah, came here for a drink or two. Politicians use to spend their nights sleeping here on the terrace, under the palm trees with their "maitresse". But then everything came to a halt when I had a very severe car accident. I was in a coma for 13 days and had to stay 8 months at Boni hospital. I had saved Three millions CFA, its all gone now. They even cut the light because I couldn't pay my bill."

Charles lived on a very nice parcel of land, on it, two beautiful old houses. He showed us around. We entered one large room painted in a light green, on the ground, carefully laid against the wall, picture frames. Photos of the deceased relatives of the Rodriguez family. In front of the central picture, old brandy bottles, fruits, candles and some other bizarre stuff. I suddenly realize I was in a shrine.

"This is the picture of my grand grand father, Joachin Jacintho Rodriguez, he is buried here. He was a Portuguese trader, he used to ship slaves to Portugal and other european regions. He also had huge lands in Porto Novo, that area is today the center of the town and still carries his name, Jasin. My father was a renown doctor in this region, Fernando Candido Fernandez. We used to be a highly influential family around here so I´m sure you can imagine the reaction when they found out I wanted to be a singer. You will become a dagga smoker, you will be a beggar etc, It was very discouraging. I still believe my family betrayed me. I´m sure that I would have reached something with music.

I started my musical career in ´58 or ´59. At that time Nel Oliver, a friend, was playing with the Daho Jazz Orchestra at the Cheklebo Bar In Cotonou, so I joined him as a vocalist. Few month later I joined a Zairian band, Los Cubano Fiesta which was a Rumba band. We traveled to Lomé in the early 60´s and from there further to Abidjan in the Ivory Coast, I later moved to Accra where I formed a band called Ufredas, I was the bass player. At that time Ignace de Souza and his legendary Black Santiagos were the resident band of the Ring-way Hotel in Accra, I teamed up with them and we moved to Abidjan. I stayed with Ignace till late into the 60s and then decided to come back home. All I found was angry family members telling me "you are the son of the Rodriguez, an Agouda (portuguese ancestry), no no no its not possible, you are spoiling our family's name", this and that."

"I had time to do few more recordings with El Rego before I eventually gave up under the parental pressure. El rego had a club, Le playboy. (when I tell him that he still has it but its now a horehouse - "Un Bordel" - and that El Rego goes there every Tuesday to collect his money, He burst into laughter) Oh really he still has it? I didn't know that. Anyway I did some "chansons Francaises" and he backed me with his band Les Commandos. I was performing with them at the club when I was approached by the owner of the Alofty label based in Lagos. He loved my voice and asked me if I would like to record something for him. I agreed. so we formed a band which were composed of some artist from here and some members of the EKs, a Nigerian band. We practiced for a month and in August ´73 we recorded four Afrobeat tracks which were recorded in a house with a reel to reel recorder. I sang and played the Organ on all four. The music was distributed by Decca"

"In the track "L´amour ne s´achete pas" I´m telling prostitutes to stop drinking and sleeping with men for 2000 or 3000-CFA per day, thats they are wasting their lives. Oh Man, when that song was released I got in all kinds of trouble with the hores of Cotonou, they gave me hard times, but i didn't care..........thats it, that was my last recording." (S)
Charles Rodriguez, Ouidah July 12th, 2006

1.L´AMOUR NE S´ACHETE PAS LISTEN HERE

Orchestre Poly-Rythmo - Unreleased Distortion

2007-08-03T03:18:00.001-07:00

August 29th, 2005
Its 9-am, I´m in front of the Studio Satel Buildings in Cotonou waiting for Wassi and Rafiou Adisa, sons of Seidou Adisa, founder of the Legendary Albarika Store music Label. I've just paid 120.000CFA, which is the fee for renting the studio for a whole day. I didn't really know what to expect but the guys told me not to worry...."you will be satisfied !!"

They finally arrived with an hour delay, each one carrying a huge bag (the ones that are used to transport rice) full of master tapes. We had few "Fizzy Pamplemouse" and then started transferring the reels onto DAT, with a backing on CD as well. We listened to about 100 to 120 Tracks on that day. Some songs were of no interest, so we quickly skipped those, others were amazing and were directly recorded - I ended up with about 20 songs, half of which will be released in the near future. Most of the tunes were by one of my favorite band, Orchestre Poly-Rythmo de Cotonou. One song in particular, Se Ba Do, composed by Amoussou William (a traditional singer) and performed by Poly-Rythmo, did get everyone in the Studio Grooving. That track is pure Sato, a traditional rhythm from Benin and probably one of the heaviest beats in Africa.

One 1/4 inch reel tape from 1973 contained 4 tracks that were completely distorted and were eventually re-recorded few month later in Lagos by Albarika and released on 45´s as ASB 97 & ASB 98 - AS stands for Albarika Store, the B (second) was added as there was already a label named African Songs (Lagos) which had the prefix AS.

I´ve had those Songs for a while now and didn´t really know what to do with them, too badly recorded to be released and too good to be forgotten, so I am glad my friends "forced" me to start this blog.

Enjoy unreleased material and...........the Distortion. (S)

1. AHOULI VOU YELLI LISTEN HERE
2. GNON A GNON WA LISTEN HERE