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Syllart's second 2-CD compilation of Orchestra Baobab's early years covers 1973 to 1976 - years when Baobab was the most popular band in Senegal. Most of the members now famous worldwide are featured in these recordings, but so are the band's first star, singer Abdoulaye Mboup, who died in 1974, and Thione Seck, the youngster who replaced him before going on to a distinguished solo career. These recordings - most of which have never been available outside Senegal until now - reveal how Orchestra Baobab developed its beloved sound from a variety of influences, including salsa, rock, soul, highlife, mbalax and other West African styles.
Proud owner of their early N'Wolof, which focuses on the pioneering Wolof traditionalist Laye M'Boup, and of the late-'70s Paris sessions released decades ago as On Verra Ça, I thought I had all the early Baobab I needed and most of what there was. Now I doubt that even this follow-up to the 1971-77 first volume reviewed below gets it all. As Florent Mazzoleni's français-seulement notes make (somewhat) clear, they released many (shortish) albums back when they were the toast of the post-colonial elite at downtown Dakar's Club Baobab. Salsa was the rage of Senegal's emergent ruling class, and there was always clave near the heart of Baobab's groove. But cosmopolitanism was also on the agenda of a multitribally multilingual unit that could bring off its worldwide ambitions because its band sound was as solid and unmistakable as the Rolling Stones'. Hear them run King Curtis over Jimmy Cliff on "Issa Soul" or go all-out JB on "Kelen Kati Leen," try an uptempo blues on "Sey" or a careful bolero on "Cabral," remember their roots on "Nidiaye" or stretch out San Francisco-style on "Sibou Odia." Hear Togolese Bartelemy Attisso run the show without ever hogging the spotlight. -robertchristgau
1-2 Lamine Gueye 8:06
1-3 Issa Soul 4:20
1-4 Fouta Toro 5:14
1-5 Sey 5:28
1-6 Sutukum 6:15
1-7 Buna Ndiaye 4:56
1-8 Fethial Way Sama Xol 4:49
1-9 Ndiougou Ndiougou 5:51
1-10 Thioro Baay Samba 6:27
1-11 Sama Xol Bul Dem 4:45
1-12 Sibou Odia 13:41
2-1 Ndiaye 3:39
2-2 Cabral 8:30
2-3 Doomou Baaye 6:38
2-4 Xarit 6:18
2-5 Jolina 3:59
2-6 Ndongo Daara 5:07
2-7 Mansani Cisse 6:10
2-8 Cherie Takama 3:20
2-9 Kelen Kati Leen 3:38
2-10 Souleymane 4:26
2-11 El Carretero 5:25
2-12 Saf Mama Dem 7:02
2-13 Gnawoe 6:30
2-14 Limale Ndiaye 6:14
Wizard of the Steel Pedal Guitar
The innovative sounds of the father of the pedal steel guitar, Alvino Rey, influenced guitarists as disparate as Duane Eddy and Jimi Hendrix, and bands like the Ventures and the Shadows. In the late 1930s, working with the Gibson company, he had helped to develop the Electroharp pedal steel guitar, which he called his console, using six pedals to bend the steel strings.
For exotica fans, Rey's greatest fame is as one of the pivotal session men of exotica. The other worldly Theremin-like sounds he coaxed from his console guitar were sought out by Esquivel, George Cates, and others. Rey also played alongside Jack Costanzo, Irv Cottler, Emil Richards, and Jimmy Rowles in the Surfmen, a session-man supergroup that recorded three albums of killer Martin Denny knock-offs for budget labels Alshire and Somerset.
Alvino Rey
The self-styled "King of the Guitar," swing-era bandleader Alvino Rey pioneered an otherworldly pedal steel sound that later formed the foundation of the space age pop aesthetic. Born Alvin McBurney in Oakland, California, on July 1, 1911, a decade later he and his family relocated to Cleveland, Ohio, where as a teen he received a banjo as a birthday gift. He made his professional debut in 1927 as a member of Ev Jones' band, and a year later signed on with the Phil Spitalny Orchestra. Eventually switching over to guitar, he adopted the name Alvino Rey in 1929 while performing in New York City, where Latin music was then at its peak; stints backing Russ Morgan and Freddy Martin followed, and by the mid-'30s he was in San Francisco playing with Horace Heidt.
With Heidt, Rey became a star upon adopting the pedal steel; a pioneering force behind the popularity of the amplified guitar, in early 1935 he was even recruited by the Gibson guitar manufacturing company to develop a prototype pickup. Later modifying his instrument to rechristen it the console guitar, Rey's innovative chord structures and distinctive sound earned him a major fan following, and in 1939 he formed his own band. He and his group (which included the vocal group Four King Sisters, one of whom -- Luise King -- became Rey's wife in 1937) were soon enlisted to serve as the staff orchestra at the Mutual Broadcasting radio network, in early 1942 scoring a major hit with their reading of "Deep in the Heart of Texas."
That same year, Rey dramatically altered the band's makeup to bring in an enormous brass section, with no less than six saxophones. The group's lineup was extraordinary -- members included the likes of Ray Conniff, Neal Hefti, Billy May, Al Cohn, and Zoot Sims -- but the 1943 musicians' union's recording ban brought about their swift demise, and within months, Rey was out of music altogether, accepting a mechanic job with Lockheed Aircraft. In 1944 he joined the U.S. Navy, where he was assigned to develop radar systems; after his military stint he formed a new band, signing to Capitol and notching a handful of minor hits including "Cement Mixer." After this band broke up in 1950, Rey toured with a series of smaller combos, frequently appearing with his brother-in-law, Buddy Cole.
Rey also became one of the most influential and distinctive session men of the exotica era, lending his guitar to sessions from Esquivel, George Cates, and countless others; he also teamed with Jack Constanzo and other session aces in the Martin Denny-inspired group the Surfmen. In the mid-'60s, Rey joined the ever-expanding King Family group on a television variety show, which enjoyed a healthy run of five seasons, concurrently producing a series of LPs featuring the program's cast. Amazingly, he also continued performing well into his eighties, leading a band that played Disneyland each year from the theme park's opening onward. The swing and exotica stalwart passed away February 24, 2004 at his Salt Lake City, Utah home. ~ Jason Ankeny
1. Twelfth Street Rag 2:05
2. Temptation 2:41
3. Aloha Oe 2:47
4. Mama’s Gone, Good Bye 2:40
5. Autumn Leaves 2:45
6. After You’ve Gone 1:51
7. The Peanut Vendor 1:48
8. The Man I Love 2:19
9. Sentimental Journey 2:33
10. Tenderly 3:08
11. Begin The Beguine 3:42
12. Blues In The Night 3:00
Labels: Alvino Rey - Ping Pong (1960)
Psych, Prog, Afro-Rock, Krautrock, Tropicalia... It's all here and more,
Cosmic Visions Of A Latin American Earth - Venezuelan Experimental Rock in the 1970s Soul Jazz Records' new Venezuela 70 is the first-ever album of its kind to take a look at the groundbreaking experimental rock music made in Venezuela and created in the 1970s - during a time when the country was both a modern cultural and economic powerhouse in Latin America on account of wealth from its vast oil supplies. Venezuela lies at the northern part of South America, with neighbouring Colombia to its west and Brazil to its south. The north coast borders the Caribbean. Whilst much of 1960s Venezuelan rock music emulated British and USA styles, the 1970s saw the evolution of a new generation of creative artists such as Vytas Brenner, Angel Rada, Pablo Schneider and Miguel Angel Fuster, who all explored the possibilities of mixing together rock with elements of electronica, funk, jazz, latin rhythms simultaneously exploring their links with Venezuelan roots music, creating a new sound which blended a multitude of new and old world influences, uniquely Venezuelan.
These Venezuelan artists looked to the future while exploring their country's own musical heritage to create a new cultural identity. Similarities can be drawn with then contemporary movements around the world such as the Trópicalia and post-Trópicalia 1970s scene in Brazil of Os Mutantes, Novos Baianos, Secos e Molhados (all of which feature on Soul Jazz Records' earlier Brazil 70).
A similar parallel can be made in Europe with the experimental German groups of the 1970s (Can, Amon Duul, Harmonia, Neu all featured on Soul Jazz Records' Deutsche Elektronische Musik) who deconstructed and reconstructed the links between rock music and electronics to define a new German cultural identity.
Most of these artists featured on Venezuela 70 remain practically unknown outside of Venezuela's borders and yet their progressive forward-thinking music is some of the most sophisticated in the world - a stunning 'melting pot' mix of underground rock, synthetic electronics, funk, jazz and Latin American rhythms all of which explored new sounds and broke down musical boundaries to create a distinct and unique Venezuelan music and cultural identity.
The 2016 compilation Venezuela 70: Cosmic Visions of a Latin American Earth: Venezuelan Experimental Rock in the 1970s is a fairly self-explanatory title that offers a delightfully heady cross-section of psychedelic and experimental rock that emerged out of Venezuela during that prolific decade. Buoyed by Venezuela's abundant and (at the time) highly valuated oil reserves, a progressive art culture thrived from the '60s through the early '80s. Influenced by an influx of American rock, as well as Latin, Brazilian, and Cuban styles of music, Venezuelan musicians began crafting their own forward-thinking brand of funk, jazz, acid-rock, and electronic-influenced sounds. These are artists that while largely unknown outside of Latin America, made music as sophisticated and creative as the best North American and European acts. Here, we get manically fuzzed-out and trippy cuts from bands like Un Dos Tres y Fuera and the epically named Apocalipsis. These are bands who transmogrified the indigenous sounds of Venezuela, combining and often replacing traditional instruments like harps, maracas, and cuatro guitars with synthesizers and electric guitars. Many of these sides, like Grupo C.I.M.'s frenetic "Joropo No. 1 and Ofrenda Vytas Brenner's "Caracas Para Locos," are ecstatically delivered instrumentals that bring to mind the most adventurous work of Carlos Santana. Elsewhere, we get Pablo Schneider's Latin-blaxploitation-movie-theme-sounding "Amor en Llamas" and Angel Rada's "Basheeba," which sounds like lost track from France's Air. Also interesting are Vytas Brenner's bubbly, Flaming Lips-esque "Bang-Going-Gone," and the mysterious spy flamenco of Miguel Angel Fuster's "Dame de Comer." Sadly, by the '80s, drastic downswings in the oil market worked to undermine Venezuela's economy and by proxy, marked the end of this period of progressive art and music. Venezuela 70 goes a long way in keeping that cosmic dream alive. -AllMusic Review by Matt Collar
2. Pablo Schneider - Amor En Llamas 3:44
3. Un Dos Tres y Fuera - Machu Picchu 3:29
4. Miguel Angel Fuster - Polvo Lunar 8:49
5. Angel Rada - Basheeba 4:25
6. Fernando Yvosky - Barcos De Papel 3:36
7. Un Dos Tres y Fuera - Son De Tambor y San Juan 2:02
8. Vytas Brenner - Bang-Going-Gone 2:41
9. Aldemaro Romero y Su Onda Nueva - Irene 2:10
10. Miguel Angel Fuster - Dame De Comer 2:16
11. Un Dos Tres y Fuera - San Juan, Tambor Y Fuera 5:09
12. Vytas Brenner - Caracas Para Locos 5:03
13. Grupo C.I.M. - Joropo No. 1 3:20
14. Angel Rada - Panico a Las 5am 5:32
15. Apocalipsis - Ayudame A Encontrar Mi Camino 3:16
16. Miguel Angel Fuster - La Quema De Judas 3:21
Sarah Louise is a 12-string guitarist based in the mountains of North Carolina. The impulse for new compositions comes frequently from observing the sounds and movements of the woods around her home. Lush and ethereal at times, yet embracing dissonance as well as tonal and time-signature shifts, her music encompasses a full spectrum of emotions. All-original tunings, picking patterns and bold transitions mark her as a unique player. Scissor Tail Editions released her first album, “Field Guide,” in early 2015, which quickly became an underground favorite. NPR named her newest album, VDSQ Volume 12, one of the top ten guitar albums of 2016. She has received additional praise from media outlets such as Aquarium Drunkard, AdHoc and Dusted Magazine as well as artists like Ben Chasny, who calls Volume 12 an album “that makes me love the sound and possibilities of the acoustic guitar.”
North Carolina-based guitarist Sarah Louise's two instrumental solo albums may be unmistakably rooted in folk music, but capture a musician more interested in expanding her language than simply re-hashing tradition. In an era that's as fertile as ever for inventive guitar music—from the elaborate, sometimes effected-beyond-recognition soundscapes of Noveller to the more raw approaches of Bill Orcutt and Tashi Dorji—Sarah Louise, real name Sarah Henson, stands out with harmonically dense compositions built around unconventionally tuned 12-string guitar and fingerpicking patterns that rarely fall into the familiar rhythms. On 2015's Field Guide and her 2016 entry in the excellent VDSQ solo-guitar series, Henson works within defined compositional structures, but never lingers too long in any one groove. On tracks like "Hellbender" and "Silent Snow," Henson uses her 12-string to discover beauty and tension, clustering notes together to create an atmosphere that's at once eerie and comforting.
When asked to describe the kind of music she composes, the singer-songwriter Sarah Louise grew hesitant. It became clear that was a question she wasn’t too comfortable answering.
“I appreciate people trying to put a genre to my music, and I get the reasoning behind it. But sometimes I wonder how valuable it is to classify yourself,” she said. “Personally, I like to leave it up to the listener, and try not to put too many words into their ears. I know this isn’t super gripping, but I guess it just sort of is what it is.”
There is no doubt, however, that Louise’s music is, in fact, gripping. Performing Thursday, April 6th at Trumpet Blossom Cafe, 310 E. Prentiss, as part of the Mission Creek Festival, Louise draws much of the inspiration for her music from the rural Blue Ridge Mountain landscape in which she lives. With roots in Appalachian folk music, Louise uses a steel stringed guitar to create a fresh take on compositions that incorporate both rich picking patterns and original tunings.
Born in Atlanta, Georgia, but having spent much of her childhood in Asheville, North Carolina, Louise said she has always been interested in the nature that frequently inspires her music.
“I think I was born being really into nature. Even in Atlanta, I was always looking around the dirty creeks and turning over rocks to see what was underneath them, so then when I moved to the mountains of North Carolina it was such a revelation. I was able to be around everything that I liked all of the time, and I was able to see the things that I had only previously read about in books.”
And Louise’s relationship with nature has not gone unnoticed by critics.
After her debut CD-R, ''Field Guide'', which was put out through Scissor Tail Records in early 2015, was a success, Louise then self-released ''VDSQ Acoustic Series Volume 12'' in May 2016, which was more widely received, and yet, met with the same kind of critical acclaim as ''Field Guide''. NPR Music featured “Floating Rhododendron” from ''Volume 12'', citing Louise’s “attention to rhythm and weight” as being “in tune with the nature that inspires her.”
One could definitely say Louise is on her way to becoming a big success, with Indy Week even labeling her as “one of the best guitarists in the business right now.” So it’s easy to imagine that when she’s not performing her music, a new record is in the works.
“Pretty much any ounce of my free time is still devoted to music. I’ve had to wear multiple hats, because I even have to handle the business side of things now.”
Sarah Louise’s sound—natural, somewhat minimalist, and yet still so abundant in the emotions it invokes and the movement it embodies—is hard to get enough of, and it would be easy to see why the public is still hungry for more. -Lily Goodman
1. Bright Light 5:53
2. Silent in Snow 4:20
3. Late April 3:46
4. Evidence of a Bear 4:45
5. Hellbender 3:56
6. Floating Rhododendron 6:13
7. Scarab 4:34
8. Rabbit Hole 6:07
Essential reissue of 3LP's on 2CD's Classic era early Reggae from 1973-74 with Lee Perry and friends.
Heavy smooth intricate unusual rhythms (still with a Rocksteady lean), subtle horn lines, floating (and some squelchy) keyboards, slight echo-o-oes and top songs (many Soul influenced), chants and instrumentals all with Lee Perry's eccentric approach, with some of the best Reggae people. -Dan
This outstanding two-disc box set compiles some of reggae revolutionary Lee "Scratch" Perry's very first albums under one cover. Early-1970s recordings AFRICA'S BLOOD, RHYTHM SHOWER, and DOUBLE SEVEN (a compilation of Perry-produced singles featuring instrumentals and tracks with vocalists I Roy, U Roy, and David Isaacs) are all represented here. Although less overtly experimental than Perry's later '70s work (he would push toward generating an increasingly dense, effects-filled sound), these releases are still a revelation.
The tracks from AFRICA'S BLOOD and RHYTHM SHOWER are heavily steeped in American-influenced R&B and the chugging rocksteady of late-'60s Jamaica. Still, they bear traces of Perry's emerging dub experiments, with dramatically slowed tempos and washes of reverb, echo, and shuddering sound effects. Most of the tracks are instrumentals played by Perry's killer house band, the Upsetters, who mine an insistent, laid-back island groove. The DOUBLE SEVEN cuts feature guest toasters, some synthesizer-heavy jams, and even a cover of the Sam & Dave hit "Soul Man." This was the beginning of Perry's ascendancy to the top of the reggae recording game, and contains the seeds of all that was to come. -AllMusic
Lee Perry - Africa's Blood
One of the first "albums" released by the Upsetter, this is a good peek into what was happening at the time on the mighty isle of Jamaica. Ska was still in the grips of American R&B, and that influence runs rampant here. But, as always, the personality of Perry shines through and gives each track that Upsetter twist that keeps this stuff from being relegated to footnote status. A perfect example of this is the cover of "My Girl" here. Sure, it's the same song, but it also bears the unmistakable stamp of Perry, turning a cover of a song you've heard too often into a foot-tapping good time. Heartily recommended. -AllMusic Review by Rob Ferrier
Upsetter - Rhythm Shower
Rhythm Shower is one of producer Lee "Scratch" Perry's more obscure efforts; it was originally released in a limited pressing in Jamaica and in an even more limited edition in England. Despite its obscurity, Rhythm Shower is a pivotal album in Perry's career as a producer and bandleader; it finds him beginning to experiment with dub and developing the distinctive studio sound that would come to full maturation in subsequent years. Whereas earlier albums had offered plenty of instrumental versions, on Rhythm Shower, Perry really starts making use of the studio tricks that characterized what was then the emerging art form of dub -- dropping voices in and out of the mix (as on " Uncle Charlie" and a dub cut of the George Faith classic "To Be a Lover") and doing the same with individual instruments (as he does with Augustus Pablo's melodica on "Kuchy Skank") to create a trippy, hypnotic effect. There are a couple of fine DJ turns from the great Dillinger, but the main attraction is the mighty Upsetters themselves, whose rock-solid rhythms give Perry all the room he needs to maneuver. This is classic Scratch. -AllMusic Review by Rick Anderson
Upsetters - Double Seven
This set finds the Upsetters in transition. Like most others on the island, here he's still under the spell of American soul music, evident in his joyous cover of "Soul Man." Things are starting to fray around the edges, though, in that wonderful Upsetter fashion. "Kentucky Skank" is strong evidence of this, as is the magnificently loony "Waap You Waa." This is a pivotal moment in Scratch's remarkable and unique career. A lot of this stuff is available elsewhere, but fans will want to hear it here, as it first rocked the nation. -AllMusic Review by Rob Ferrier
Africa's Blood
1. Dave Barker / The Upsetters - Do Your Thing 3.49
2. The Upsetters - Dreamland 2.40
3. The Upsetters - Long Sentence 2.26
4. The Upsetters - Not Guilty 3.12
5. The Upsetters - Cool And Easy 2.33
6. Addis Ababa Children / The Upsetters - Well Dread (Version 3) 2.34
7. The Upsetters - My Girl 3.16
8. The Upsetters - Sawdust 2.23
9. Winston Prince/Junior Byles The Upsetters - Place Called Africa (Version 3) 2.52
10. The Hurricanes / The Upsetters - Isn't It Wrong 2.53
11. The Upsetters - Go Slow 2.58
12. The Upsetters - Bad Luck 2.49
13. The Upsetters - Move Me 2.33
14. The Upsetters - Surplus 2.14
Rhythm Shower
15. Dillinger / The Upsetters - Tighten Up 2.27
16. Sir Lord Comic / The Upsetters - Django Shoots First 2.32
17. The Upsetters - Uncle Charly 2.54
18. The Upsetters - Sokup 2.23
19. The Upsetters - Double Power 2.48
20. The Upsetters - Lover Version 2.42
Disc 2:
Rhythm Shower
1. The Upsetters - Rumpelsteelkin 2.45
2. Dillinger / The Upsetters - Skanking 3.07
3. The Upsetters - Kuchy Skank 2.57
4. Dillinger / The Upsetters - Connection 4.04
5. The Upsetters - Operation 7.20
Double Seven
6. Lee Perry / The Upsetters - Kentucky Skank 3.34
7. U-Roy / The Upsetters - Double Six 2.22
8. David Isaacs / The Upsetters - Just Enough To Keep Me Hanging On 3.10
9. The Upsetters - In The Iaah 2.48
10. The Upsetters - Jungle Lion 3.12
11. David Isaacs / The Upsetters - We Are Neighbours 3.15
12. Lee Perry / The Upsetters - Soul Man 3.17
13. U-Roy / The Upsetters - Stick Together 2.48
14. I-Roy / The Upsetters - High Fashion 2.14
15. The Upsetters - Long Sentence 2.06
16. I-Roy / The Upsetters - Hail Stones 1.56
17. The Upsetters - Ironside 2.01
18. The Upsetters - Cold Weather 3.02
19. The Upsetters - Waap You Waa 3.22
Notes
1988 reissue on CD of Vinyl LP Box set previously published by Trojan in 1985.
Three classic albums from The Master on double CD.
Featuring: 'Africa's Blood', 'Rhythm Shower' &'Double Seven'.
"'Rhythm Shower' first issue ever", according to the cover. This is not completely true. Steve Barrow writes in the liner notes "Rhythm Shower', heretofore only available in Jamaica in a limited pressing and briefly in the UK as a pre-release (...)". Rhythm Shower is also included in the original albuns discography compiled by David Katz at the end of his People Funny Boy: The Genius of Lee Scratch Perry.
House and Land is a collaboration of Sarah Louise (VDSQ, Scissor Tail Editions) and Sally Anne Morgan of the Black Twig Pickers (Thrill Jockey). Together, Sarah and Sally play haunting psychedelic Appalachian folk drone that invokes the rhododendron thickets, creeks and mountains of their local landscape in Western North Carolina. Sarah Louise is a preeminent 12-string guitarist, whose playing is influenced by clawhammer banjo and other nature-based drone styles from around the world. Her lush, hypnotic compositions are bolstered by Sally’s droning fiddle style, that incorporates traditional mountain fiddle tunes as well as modern improvisation and minimalism. Sally’s playing in the Black Twig Pickers, who have a history of collaborating with guitar heavyweights from Jack Rose to Steve Gunn, has geared her towards this perfect collaboration with Sarah. Together as House & Land, they weave their instrumental prowess with medieval vocal harmonies to create something both rooted in tradition and altogether new.
"[House and Land] understand that folk music is a music that moves forward, as old hymns and songs passed down are just as restless and relevant as the time they were first written. Their self-titled debut as House And Land is a rich and seeking record, braiding the natural connection between traditional Appalachian folk music and modern composition." - Lars Gotrich, NPR
When 12-string guitarist Sarah Louise Henson (aka Sarah Louise) first recorded the mournful ballad “The Day Is Past and Gone,” it was a very different piece of music. As the Asheville native plucked and bent the strings of her guitar, you could feel the sorrow in the song all within her playing. But on the debut release of House and Land, Louise’s new duo with multi-instrumentalist Sally Anne Morgan (of Pelt and Black Twig Pickers), it approaches the form of a folk epic. Louise has become one of the most exciting figures in solo guitar music, with a style of fingerpicking that aligns her more with banjo players and pianists, notes cascading in constant patterns like rain. In House and Land, she often takes on the role of lead vocalist, echoing the hum of Morgan’s fiddle with a sad, steady sigh.
House and Land’s self-titled debut feels expansive and immersive while using the simplest resources. Its source materials stem from centuries-old folk songs, so traditional they share lines with Old Testament verses. But Louise and Morgan attack them with urgency and excitement. The record’s best moments, like “The Day Is Past and Gone” and “Rich Old Jade,” are warmly psychedelic, proceeding patiently with minimal percussion and unfolding into new shapes at every turn. Other songs take up smaller spaces. “Listen to the Roll” is nearly a capella, with Louise singing sternly over a low drone. “I had to answer for myself,” she repeats, adding an ominous edge to the melody by raising her voice just a half-step between the syllables of “answer.” It’s a haunting sound, showing just how much these musicians can communicate with such sparse arrangements.
“It doesn’t make sense to me to draw a hard line about what is folk music and what is avant-garde,” Louise has said, “Because so many ‘folk’ musicians are incredibly inventive and plenty of ‘avant-garde’ artists are just doing the same stuff over and over again.” This tension—between new and old, between folk and avant-garde—is the driving force of House and Land. The sounds throughout the album are alluringly simple: the primitive buzz of a shruti box, the percussive trill of a banjo, the fluttering sound of the pair’s tight, ghostly harmonies. In the opening track “Wandering Boy,” House and Land illustrate their potential as a more accessible folk duo, with a straightforward arrangement that places an emphasis on melody and harmony. But the pair are not just content to retell stories from the past; they also take pleasure in bending them at their will.
For their rendition of Shirley Collins’ “The False True Lover,” Morgan maintains the song’s persistent flow while slightly restructuring the melody, adding a new emotional undercurrent similar to Sam Amidon’s reinterpretations on I See the Sign. In “Johnny”—a song the duo discovered on a late ’90s private press folk album—they shift the song’s subject from “father” to “mother” and replace the word “sterling” with “garland,” because, according to the liner notes, “[It was] more to our liking.” These subtle, personal changes are indicative of the album’s success. House and Land don’t just make these songs their own: they effectively reclaim them, illustrating that they’ve always been theirs. -Sam Sodomsky
1. Wandering Boy 2:49
2. Guide Me O Thou Great Jehovah 2:14
3. False True Lover 3:48
4. Listen to the Roll 2:59
5. The Day is Past and Gone 5:53
6. Home Over Yonder 3:42
7. Johnny 2:16
8. Rich Old Jade 3:42
9. Feather Dove 3:11
10. Unquiet Grave 3:42
Notes
House and Land is the duo of Sally Anne Morgan (fiddle, shruti box, banjo, vocals) and Sarah Louise Henson (vocals, 12-string guitar, shruti box, bouzouki).
Labels: House And Land - House And Land
''With our music we Cubans have exported more dreams and pleasures than with our tobacco, more sweetness and energy than with all our sugar." -Fernando Ortiz
Whether you’re an old Cuba hand or still need help sorting out your Guaracha from your Guajira, you’ll want this beautifully illustrated, 180-page guide to the history of Caribbean music on your shelf. The musicologist Dr. Olavo Alén Rodriguez is an internationally recognised expert on the subject and in this handy compendium he traces the developments from early ritual African rhythms to the big band sound of later years. Complementing the text is a CD containing 26 archival field recordings, many by artists rarely heard outside Cuba, all of excellent quality. A reliable guide to the diverse world of Cuban music. Read, listen, enjoy!
Cuban music is a complex amalgamation of cross-cultural influences: Spanish, African, and more. Therefore, any comprehensive take on this island nation's musical legacy will in itself be multifaceted. Dr. Olavo Alén Rodríguez succeeds in presenting Cuba's sophisticated musical heritage in an accurate though accessible way on From Afrocuban Music to Salsa. From rhumba to son and from danzon to salsa, Rodríguez effectively draws together 26 variegated tracks to make up this unique document. Of the many standout tracks, "Toques y Cantos Yoruba" shines: Its African-grounded 6/8 drumming, call and response vocals, and devout religiosity may just infect you with a desire to dance. "Horchata," the CD's 20th track, is a fascinating example of Cuban brass band music. The central use of a guiro on this track underscores how integral percussion is to the development of this piece and to Cuban music as a whole. Though From Afrocuban Music to Salsa is part historical document and part ethnomusicological treatise (a 180-page book accompanies the CD!), it is above all else a great-sounding compilation. -AllMusic Review by John Vallier
1. Conjunto Cucalambé - Tonada De Corte Andaluz En Punto Menor (Vocals – Celia M. Oquendo) (Tonada) 2:18
2. Gilberto Herrera / Bata Drum Ensemble - Toques Y Cantos Yoruba: Agayú/Changó 2:27
3. 'Lupemba' Drum Ensemble - Toque Y Canto Congo 2:03
4. Marcha Efi - Toque Y Canto Abakua 2:58
5. Changüí Ensemble - Nengón (Nengón) 2:16
6. Ensemble 'Seguidores Del Son' Guane - Todo Eso 3:21
7. Septet 'Son Del Mayabeque' - Ruńidera (Son) 4:47
8. Group Rumores Campesinos - De Donde Viene Usted (Son Montuno) 3:50
9. Group ''Cumbre'' - La Felicidad (Son) 3:19
10. Rumbolero - Palo Mariba (Yambú) 2:27
11. Afrocuba - La Calabaza (Columbia) 4:18
12. Rumbolero - Lamento Africano (Guaguancó) 3:54
13. Lomyde - Centinela Alerta 3:10
14. Trio 'Los Amigos' - Tormento Fiero (Bolero) 3:02
15. Dúo 'Amante Guajiro' - Me Voy Pa'l Monte (Guajira) 2:28
16. Dúo Enigma - Corazón En Cristal 2:43
17. Maria Elena Lazo And Grupo Cumbre - El Breve Espacio En Que No Estas (Canción) 3:19
18. Piquete Tipico - San Pascual Bailon 1:36
19. Charanga Típica De Rubalcaba - Los Tres Golpes (Danza) 1:24
20. Piquete Tipico - Las Alturas De Simpson (Danzón) 2:40
21. Orchester 'Ases Del Ritmo' - Horchata 4:52
22. Charanga Típica De Rubalcaba - Rompiendo La Rutina 3:26
23. Conjunto Cucalambé - Decimas A La Mujer 1:22
24. Ensemble 'Lira Tropical' Lajas - Combinacion De Tonadas (Punto Fijo) 1:58
25. Conjunto Cucalambé - Controversia Humoristica 1:57
26. Son Ensemble 'Nos Naranjos' - Chanchullo 3:46
West Africa's most iconic dance band
A classic African pop album.
A classic African pop album.
This single CD edition collects two Baobab albums from 1980-81, and the music is simply quite lovely. Classic hypnotic grooves that creep up on you and bring a sense of wonder and elation. Why get into a "this disc is better than that one" argument? Orchestra Baobab is a great band, and all of their records are highly recommended. -DJ Joe Sixpack
The opening "Mouhamadou Bamba" is simply astounding -- the way the feathery introductory guitar trills by Barthelemy Attisso and the ragged-but-melt-in-your-ear harmonies supporting Thione Seck's heart-wrenching vocal lead that drop you into Charles N'Diaye's reggae lope bassline pushing up is simply glorious. And when those "bamba, bamba" backing vocals start dropping in behind Seck after 45 seconds, just forget it. "Mouhamadou Bamba" shifts mid-song into devoted testifying before a rocking guitar solo and fall-apart ending closes out six-and-a-half minutes of brilliant music. The rockin' side of Orchestra Baobab dominates Bamba, which combines the Senegalese group's Mouhamadou Bamba and Sibou Odia albums from 1980 and 1981. It's much louder and liver sounding -- the voices laced with echo, N'Diaye's bass and Papa Ba's rhythm guitar more prominent in the mix, and Attisso brought in his noise toys and gets rowdy. The band sounds confident and in their prime -- the riffs are more thoroughly worked out, mixing solo sax on "Doomou Baye" in with guitar and voices to change the emphasis, or playing the horn section riffs off the vocal harmonies. The trademark galloping rhythm guitar is fully evident on "Boulmamine," while clarinet pops up on "Ndiawolou" as Attisso goes the crystalline solo route again with some Issa Cissokho tenor sax interjections. "Gnawou" and "Autorail" both work off a rhythm riff very close to the Ritchie Valens "La Bamba" -- Cissokho's sax shines on the former -- and the jaunty "Sou Sedhiou" features clopping drums underneath more good sax and guitar solos. "Ndiambaane" may be a little lightweight to justify its nine minutes, but not "Sibou Odia," a great 14-minute stretch-out with the percussion percolating with far more drive than the Orchestra Baobab norm. It gives Attisso a chance to play with more guitar tone-altering toys -- he still sounds like he's discovering sounds for the first time, yet it's unfailingly musical -- and he rips off some great solos over Papa Ba's rocksteady gallop. It seems strange to say that a rhythm guitarist might be the real star of a 14-minute jam (and maybe the entire album), but his foundation simply never falters. And it's just as odd that most world music critics dismiss Bamba, but then they tend to like their African music with the root influences showing clearly and not overly rocking and rowdy. Bamba is simply a great album and the perfect place for rock-oriented listeners to enter the world of Orchestra Baobab...or the whole realm of West African pop music, for that matter. -AllMusic Review by Don Snowden
2. Boulmamine 5:54
3. Ndiawolou 6:35
4. Doomou Baaye 6:40
5. Gnawou 6:31
6. Bon Bon I 4:08
7. Autorail 6:59
8. Sou Sedhiou 6:14
9. Ndiambaane 9:05
10. Sibou Odia 13:41
Notes
Compilation/CD-reissue of two rare LP's from the early 80's:
Track 1 - 5 from the album Mouhamadou Bamba (Jambaar Records JM 5000, 1980)
Track 6 - 10 from the album Sibou Odia (Jambaar Records JM 5004, 1981)
Labels: Orchestra Baobab - Bamba
“Another superb adventure in the Britxotica! series, looking into rare and amazing exotic British recordings. For this exciting installment, Trunk waltzes to the British ballrooms for charismatic cha cha chas, magical mambos, and a whole set of floor-filling fun! Britxotica! (pronounced "Britzotica") neatly describes an odd and yet undocumented pre-Beatles British musical scene where famed UK composers, as well as unknown singers and bandleaders, threw convention on holiday and went wild. Put together by Jonny Trunk with DJ/tastemaker and smashing nightclub legend Martin Green, these groundbreaking compilations shine new light on lost and forgotten corners of British culture and sound.
For Strictly Britxotica! Palais Pop And Locarno Latin, part four of Trunk's planned Britxotica! series, they head to the now defunct British ballrooms for a set of dynamic and often extraordinary dance numbers -- charming cha cha chas (including "Cha Cha Pop Pop"), lively Latin, and some fabulously freaky foot tappers, including a classic version of "Cerveza". Composers and artists include ballroom band legends such as Edmundo Ros, Ted Heath, and Stanley Black, but Trunk have also found work by lost geniuses such as John Graven and John Warren who are very much worthy of reappraisal. In short, this is another crazy and charismatic compilation of British music so obscure and rare that only Trunk Records could find and package it so superbly, and with such effortless and comedic style.”
Welcome Britxotica! fan to this, our fourth instalment of rare and exotic British recordings. For this volume, we head to ballroom - the puff-balled land of Peggy Spencer. But this is Britxotica! so the cha-cha-chas are often sprinkled with something a little taboo. Many of these records may not have found favour with the serious ballroom crowd on their initial release (rock and cha-cha-cha at the same time anyone?), but have since been tried and tested at more furious dance clubs such as Smashing in the 1990s. Martin Green is the master at finding and compiling this music. And when he turned up at mine with John Graven’s bizarre “Besame Mucho” and a cha-cha that went pop pop I knew we were in for something truly potty. I will leave Martin to explain the discoveries and history, and see you for cocktails in Britixotica! Volume 5.
In 1950's Soho, on the top of 15 Greek Street was a dance studio run by the first person to introduce Latin to London. Known simply as Monsieur Pierre, theone-eyed French ballroom teacher crossed the channel and brought overdances he experienced among the Cuban community of 1930's Paris.Initially frowned upon for being too wild, his revolutionary Tango, Samba and Rumba dance steps became the groundwork for all Latin American competitions and are still in use today. This album opens with a bouncing Mambo performed by big band leader Joe Loss. Born in 1909 to Russian immigrants, Loss grew up experiencing an East End Jewish life similar to many musicians of his generation including Ronnie Scottand Stanley Black. Creating a distinctive punchy brass Latin sound, he scored a huge hit with 'Wheels-Cha-Cha'; the theme to every British beefcake's muscle-flexing show routine. Highly regarded among other performers Loss was also godfather to lounge legend Barbara Moore, whose father played in his group.
Princess Margaret's passion for Latin and patronage of the Edmundo Ros club helped popularise the genre. By the mid 50's it could be heard at Ballrooms across the country as dancers, in a post-war celebratory mood and bored with traditional waltzes, excitedly learnt Monsieur Pierre's exotic new steps. Here Ros transforms 'Ain't Necessarily So' into a tough Mambo while Ted Heath takes a softer approach accompanying Denis Lotis as he authoritatively explains Mambo's history and The Johnston Brothers, who describe the dance as family entertainment complete with screeching child. When Monsieur Pierre visited Cuba in 1952 he realised there was an alternative rhythm being used for the Rumba. Returning to the UK, he taught the dance which soon became known as the Cha-Cha-Cha. This style became hugely popular and spawned a vast and varied amount of recordings. The novelty number 'Cha-Cha Pop Pop' produced by George Martin, inventively uses early electronic sounds, drummer Tony Crombie aggressively mashes up Cha-Cha with Rock-n-Roll, John Warren performs a sleepy organ led track and Martin Slavin, under the gaucho guise of Martinas and his Music, turns the traditional Scottish song 'Charlie is My Darling' into a hard hitting story about a young man addicted to Cha-Cha. The swinging South American Chaquito, produced many albums throughout the 60's with a heavy Latin brass style firmly aimed at the dancefloor. In typically mixed-up Britxotica fashion, the Mexican Chaquito was actually the pseudonym of composer and arranger John Gregory, son of FrankGregori, an Italian bandleader. Adding to the cultural confusion Gregory also used the Spanish sounding name Nino Rico and once recorded an album entitled Melodies of Japan. Surprisingly, the most influential bandleader of all Victor Silvester didn't start his career as a musician but as a professional dancer. In 1935,dissatisfied with the lack of suitable dance records available, he formed a band and combined 'strict tempo' music with his distinctive “slow, slow, quick-quick, slow” tuition. These recordings became enormously popular and sold over 75 million copies. Although famous for the Quickstep, Foxtrot and Waltz, he also promoted new dance trends by performing Jives, Bossa Novas and here, a floor-filling Latin-Twist version of 'Cerveza'.
Britain's Ballrooms were magnificent Meccas for dancing, socialising and courting with band leaders providing a constant soundtrack; Phil Tate at the Ilford Palais, Billy Cotton at Streatham's Locarno and Joe Loss at The Hammersmith Palais. From the 1970's to the mid 2000's many functioned as gig venues and discos, but sadly few survived the current desire to turn public spaces into apartments and supermarkets. The Locarno was only demolished last year.
Miraculously, Brockley's beautiful Rivoli Ballroom remains intact and still hosts weekly events where young Londoners, impassioned by television's recent dance shows, enthusiastically learn 80 year old steps. Latin lives on. It's certainly not the end of the Monsieur Pierre show. --Martin Green
1. Spoken Word - Cha Cha Cha Course Intro 0:47
2. Joe Loss - Mambo In Old Lisbon 2:26
3. Edmundo Ros - It Ain't Necessarily So 2:06
4. Johnson Brothers And Ted Heath - Papa Loves Mambo 2:33
5. Tony Scott - Cha Cha Pop Pop 2:01
6. Tony Crombie - Rock Cha Cha 2:07
7. Stanley Black - Petite Fleur 2:24
8. The John Warren Orchestra - Dream Talk 2:24
9. Martinas And His Music - Cha Cha Charlie 2:30
10. Spoken Word - The Tango Lesson Intro 0:47
11. John Graven Quintet - Besame Mucho 3:26
12. Dave Lee - Goodness Gracious Me 2:22
13. Phil Tate - Green Turtle 2:21
14. Don Carlos - La Battanga 2:51
15. Chaquito - La Fanjanda 1:56
16. Jack Parnell - Topsy 2:39
17. Eddie Calvert - Amerciano 2:17
18. Victor Sylvester - Cerveza 2:24
Most people who love 60/70's soul music know Detroit (Motown) and Memphis (Stax). Not nearly as many are familiar with the Chicago soul scene. This is unfortunate, because some of the greatest soul music ever produced came out of Chicago in the 1960's. Syl's music is a fine example of this. True, authentic soul music. The package is great - CDs and Vinyl. It's good Syl is getting some credit, because man oh man, he was the real thing.
To hear him tell it, Syl Johnson could have been as big as James Brown or Al Green. #1 on the charts, top billing on the marquee, Hall of Fame inductions, tearful tributes... all within his reach, and yet never in his hands. Something, someone, and sometimes-if you believe his lyrics-the sole of a shoe was holding him back. Was it because he's black? Not likely, though his inability to crossover to the pop charts never did him any favors. "I made my opportunities, but I never got the breaks I should have gotten. I was a jack-of-all-trades. More soul than Marvin, more funk than James. If I'd gone pop, you'd be talkin' about me, not them. I rate right at the top, though I've been underrated all my life." Laced with that unique brand of bravado, the Syl Johnson interview tends to veer toward harrowing voyages through interruption, correction, and deliberate obfuscation. "Back up, hold on, slow down... Wu Tang, Kid Rock, Michael Jackson... Jimmy Reed, Jimmy Johnson, Jimmy Jones...." Johnson has a habit of insisting that everything printed before-every verbatim transcript read directly back to him-is a blatant misquote or misunderstanding...and sometimes both. His date of birth and place of birth, his surname change from Thompson to Johnson, the murky beginnings of the Twinight record label-Syl Johnson weaves them all into one convoluted narrative, a daunting challenge for historians and fans alike to follow. Resolving his life story for this collection became an exercise in patience and diligence, as we chased the rabbit through even more big-hole 45s than bear his name. The blues was always a genre riddled with myth and legend-its half-truths muttered on sun-baked Mississippi porches have long-since morphed into biographical foundations. From Robert Johnson's midnight bargain with the devil at the crossroads near Dockery Plantation to Bo Diddley's divergent claims about the origin of his name, fabrication is fully ingrained in blues tradition. Syl Johnson's apple never fell far from that tree. When this bluesman-at-heart felt his career tapering off early in the 1980s, his tendency toward self-mythologizing gained momentum. If he couldn't enjoy the successes of an Al Green or a James Brown, he could surely concoct for himself a more mysterious history. Forget hot grits and armed robbery, Syl Johnson's illegitimate father would be Robert Johnson. Or so he began to claim.... For decades, Johnson has been toeing the edge of a wide chasm that separates soul's upper and middle classes, overshadowed across his career by the bill-paying stars of the Federal and Hi labels. He's joined by the likes of Otis Clay and Candi Staton in a pantheon of great soul singers who maintained viable careers over several decades but never achieved that national #1 smash. Consequently, he's been eschewed by oldies stations and Final Jeopardy questions, never having scattered the cultural detritus that keep even one-hit wonders in the periphery of the national consciousness. The litany of his largely regional hits-"Come On Sock It To Me," "Different Strokes," "Is It Because I'm Black," "We Did It," "Back For A Taste Of Your Love," and "Take Me To The River"-is undeniable, a list that dwarfs the tally of winning output in his caste. Even so, Johnson's reevaluation as a serious artist has yet to arrive. Beginning in 1986, with Charly's bootleg Is It Because I'm Black CD, the Syl Johnson story, as told by his work's compilers, has been boiled down to a few paragraphs gleaned mostly from the pages of Robert Pruter's Chicago Soul. The predictably atrocious mastering of his material reaching its nadir with Collectables' 1996 Twilight & Twinight Masters Collection, which presented source 45s transferred at the wrong speed. In 1997, Ace upped the ante with their Dresses Too Short/Is It Because I'm Black CD twofer, but-having never interviewed Johnson-the label settled on including only a woefully slim booklet. Given Syl's track record with interviewers, it's hard to blame the reputable UK firm for their decision to go another way. "I love the music business, but it sucks," Syl has said. "The only thing I can liken it to is the drug business. Everybody's out to get you, no one's legit, and the only people getting paid are at the top." By sheer quantity of singles issued, Syl Johnson should be an oldies radio staple. He's issued more than 60 unique 45s, at last count-and that excludes international pressings and what he refers to as "booties." Of those, 28 are collected here, in addition to extant cuts from his two Twinight LPs and a swath of period outtakes. Johnson's Hi singles and albums have been compiled comprehensively, and recently, so we've chosen to focus on his work prior to joining the Memphis powerhouse in 1971. In cases where no dates could be found, we've taken pains to place them within the chronology Syl himself provided over the last four years. But with Syl Johnson, those dates seem to shift every time they're about to be confirmed. We've broken our own Syl Johnson biography into discrete sections, headed by topical quotations even the man himself can't rightly deny. When grilled, Johnson just shrugs and says, "Gotta keep some mysteries unsolved...."
1.02 They Who Love
1.03 I've Got Love
1.04 Lonely Man
1.05 I Need Love
1.06 His Gift
1.07 I've Got To Find My Baby
1.08 She's So Fine - I Just Gotta Meake Her Mine
1.09 Little Sally Walker
1.10 I Resign From Your Love
1.11 I Wanna Know
1.12 Well Oh Well
1.13 Please, Please, Please
1.14 I'm Looking For My Baby
1.15 She's Alright
1.16 I Know
1.17 A Half Love
1.18 I've Been Talked About
1.19 This Heart Of Mine
2.01 Falling In Love Again
2.02 I've Got To Get Over
2.03 Strait Love, No Chaser
2.04 Surrounded
2.05 Try Me
2.06 Half A Love
2.07 Do You Know What Love Is
2.08 The Love I Found In You
2.09 Do You Know What Love Is
2.10 Things Ain't Right
2.11 Come On Sock It To Me
2,12 Different Strokes
2.13 Sorry 'Bout Dat
2.14 Ode To Soul Man
2.15 I'll Take These Skinny Legs
2.16 Send Me Some Lovin'
2.17 Soul Drippin'
2.18 Fox Hunting On The Weekend
2.19 Try Me
2.20 I Feel An Urge
2.21 I Resign
2.22 Love Condition
3.01 My Family Bond
3.02 Sockin' Soul Power
3.03 Double Whammy
3.04 Dresses Too Short
3.05 I Can Take Care Of Business
3.06 Same Kind Of Thing
3.07 I've Got The Real Thing
3.08 Take Me Back
3.09 I Take Care Of Homework
3.10 Let Then Hang High
3.11 Don't Give It Away
3.12 Going To The Shack
3.13 Is It Because I'm Black
3.14 Concrete Reservation
3.15 Together Forever
3.16 Come Together
3.17 Black Balloons
3.18 Walk A Mile In My Shoes
3.19 I'm Talking 'Bout Freedom
3.20 Right On
3.21 Everybody Needs Love
4.01 One Way Ticket To Nowhere
4.02 Kiss By Kiss
4.03 Thank You Baby
4.04 We Do It Together
4.05 Try My Love
4.06 That's Why
4.07 Get Ready
4.08 The Way You Do The Things You Do
4.09 Annie Got Hot Pants Power
4.10 Wouldn't Change My Lady
4.11 All I Need Is Someone Like You
4.12 Let's Start All Over Again
4.13 Hot Pants Lady
4.14 Wiggle Your Hips
4.15 Your Love Is Good For Me
4.16 Trying To Get To You
4.17 Soul Strokes
4.18 Annie Got Hot Pants Power Part 2
4.19 Soul Heaven
The lion's share of LEGENDS OF EAST AFRICA is drawn from their legendary AGWAYA LP featuring 'Mambo Bado', a propulsive wonder with horn charts to rival any of those devised by Fela's arranger, Tunde Williams. -The Wire
One of the most welcomed releases of 2005, is actually a CD re-release of the Orchestra Makassy recordings made back in 1981 in Nairobi. These originally came out of the UK as the Agwaya LP on the Virgin label. These are some superb recordings of music that has stood the test of time. They are now back as a CD titled Legends of East Africa along with three additional tracks that weren't on the original. Luscious guitar work, catchy melodies, and sweet harmonies.
WikipediA
Orchestra Makassy were an East African soukous band of the late 1970s and early 1980s consisting of musicians from Uganda and Zaire (now the Democratic Republic of the Congo). In 1975, under the leadership of their principal vocalist Kitenzogu "Mzee" Makassy the group moved from Kampala, Uganda to Dar es Salaam, Tanzania taking up residence at the New Africa Hotel where they were joined by guitarists and singers such as Mose Se Sengo ('Fan Fan') and Remmy Ongala. One of the band's first recordings was the song "Chama Cha Mapinduzi" praising the Tanzanian independence party with lyrics based on the words of the country's first president, Julius Nyerere. In 1982, the band moved to Nairobi, Kenya to record The Nairobi AGWAYA Sessions at the CBS Nairobi studio. Remmy Ongala left the band and stayed in Tanzania where he went on to join Orchestra Super Matimila. Mose Se Sengo left the band in Kenya to start his own band Somo Somo. The Nairobi Agwaya Sessions, produced by London-based Australian engineer, Norman Mighell, has been described as "one of the finest moments of East African rumba". The band broke up in 1984.
One of the bigger bands to emerge from the soukous renaissance in the late '70s in Zaire, Orchestra Makassy performed the hotel and club circuits of Zaire, and later of Tanzania after exile under Idi Amin. Increases in the band's popularity as well as general interest in African music from European consumers led to a landmark recording in 1982 of their first multi-tracked, major-label album: Agwaya. Orchestra Makassy has resurfaced over 20 years later on Legends of East Africa, which features the original Agwaya LP together with a pair of previously unreleased tracks from East African recordings that should be of particular interest to collectors. The soukous carries much of what would be the prototypical guitar-based, peppy, and happy sound, but there's a sophistication to this version of soukous that's sadly lacking in much of the current catalog. There's some musical complexity here, as well as more deliberate playing. Certainly worth a listen for any fan of soukous, as well as for those inundated with the sheer mass of the genre and tired of the usual. -AllMusic Review by Adam Greenberg
2. Zimbabwe [Shona] 5:00
3. Kufuliska Sio Kilema [Shona] 5:08
4. Nakolela Cherie [Lingala] 5:39
5. Mosese [Lingala] 4:34
6. Athumani [Swahili] 4:08
7. Mke Wangu [Swahili] 5:16
8. Molema [Lingala] 5:28
9. Ubaya Wa Nini [Swahili] 4:12
10. Muungano [Swahili] 5:14
11. Mume Wangu [Swahili] 6:22
Notes
The Nairobi AGWAYA Sessions (Recorded at CBS Nairobi & remixed in London 1982 for Virgin records release Virgin OVED84; reissued on CD on 2005: Legends of East Africa - Orchestra Makassy (ARC Music EUCD1909), with three bonus tracks, "Ubaya wa nini" from the same Nairobi session, and "Muungano" & "Mume Wangu" -- tracks previously recorded in Tanzania.)
Members: Kitenzogu Mzee Makassy, Remy Ongala, Mose Se Senga, Tshimanga Assossa
Collection of recordings from the South African legends.
Slinky 1970s rhythms from Zimbabwe. Guitarists take heed!
Zimbabwe is an African nation that is constantly in the news for all the wrong reasons: Robert Mugabe’s lethal grip on power, the collapse of the economy, brutal oppression of any individuals brave enough to challenge the ruling regime, absolute poverty and a soaring mortality rate. To think Zimbabwe was once a nation feted by the likes of Bob Marley and celebrated internationally for its fertile music scene!
Depressing as current conditions in Zimbabwe are this album reminds of how magical the nation once was and hints that the natural talent and ingenuity of the citizens will once again flower in a better future. The Green Arrows are now considered the most important musical act to emerge from Zimbabwe in the 1970s. Initially formed by Zexie and Stanley Manatsa in 1966, The Green Arrows rapidly rose to become (by 1970) the most popular bar band in Rhodesia (as the nation was then known). Stanley quickly developed into a superb guitarist whose sparkling, melodic playing continues to inspire today.
Nicknamed “wha-wha (=beer) music” as they made their name playing the large drinking dens the nation’s workers congregated at, The Green Arrows were the first Zimbo band to record an LP (in February 1976) and still hold the record for the longest stay at No 1 (with ''Musango Mune Hangaiwa'' holding on for four months). This 20-track compilation covers their recording history from 1974-1979 and reveals a remarkably dynamic and imaginative band. While the drums-bass-guitar(s) line-up mimics Western pop-rock acts, the Manatsa brothers were inventive musicians who effortlessly fused traditional Southern African flavours with American influences. Superb sleeve notes from African music expert Banning Eyre make this a CD to treasure. -Garth Cartwright
Undoubtedly the most important musical act to emerge from Zimbabwe in the 1970s, the Green Arrows transmuted the widespread social upheaval of their homeland into hopeful, rhythmic, political, experimental music. This extraordinarily progressive group took the country by storm, fusing the different rhythms of the region into one unique and ebullient sound. The Green Arrows were the first Zimbabwean band to record an LP (released in February 1976) - a milestone in Zimbabwean music history. Also their song 'Musango Mune Hangaiwa' still holds the record for the longest stay at number1 in the Zimbabwean charts (4 months).
At the start of the 1970s the Green Arrows were merely the best bar band in all of Zimbabwe. By decade's end, they had achieved a level of fame previously unheard of in the country. The band's mercurial bassist and lead singer, Zexie Manatsa, became the patriarch of a flourishing musical scene in Zimbabwe, then Rhodesia. When he got married in 1979, an estimated 60,000 guests showed up for the wedding, held in Rufaro Stadium in Harare, with Oliver Mtukudzi and Thomas Mapfumo amongst the performers.
The Green Arrows, discovered by South African producer West Nkosi, had become the tightest, funkiest band around. The music was branded ‘wha wha (= beer) music’ as it got people to consume vast amounts of beer. The Arrows’ unique sound managed to be intensely danceable and catchy, yet breezy and laid-back at the same time. Guitar riffs sparkle like stars throughout each of these three-minute-long compositions. The rhythm section is flawless and the mellow, stoned vocals perfectly convey the band's overarching message: ‘Forget your troubles for a little while and dance with your fellow human beings - something great might come of it’. This is music to get lost inside, hypnotic and gently percussive, utterly irresistible and addictive. -analogafrica
2. Bambo Makwatila 2:41
3. Chitima Nditakure 2:36
4. Amai Mandida 2:43
5. Towering Inferno 2:16
6. Nkosi's Intro 0:04
7. Chipo Chiroorwa 2:27
8. Dororengu Rinonaka 2:46
9. No Delay (Bullit) 2:48
10. Nhengura 2:42
11. Infalilibe Chisoni 2:50
12. Madzangara Dzimu 2:43
13. Nherera Zvichengete 2:34
14. Musango Mune Hangaiwa 2:49
15. Nyoka Yendara 2:52
16. Hurungwe 2:59
17. Chechule Wavala Botom 2:56
18. Chimamuna Chamímba 3:17
19. Vaparidzi Vawanda 3:12
20. Wasara Wasara 3:06
Notes
Tracks 1 to 10; Part One (1974-75) Chipo Chiroorwa LP.
Track 11 to 20; Part Two (1976-79) Waka Waka Selection.
All tracks originally recorded and released in Zimbabwe.
Ziad on top of his game in arrangement and orchestration. The first track, "Abu Ali" is flawless and is never dull. The second track is a reinterpretation of a popular theater piece, more middle-eastern oriented but still great nevertheless. Although the beats and drums of the late 70's early 80's are out of fashion nowadays. This is a great musical work overall. Think of Ziad Rahbani as a Lebanese Miles Davis back then, but a piano and strings instead of a trumpet. -Dead Bees on a Cake
This track is such a treasure for DJs, as it's probably the only example of Arabic/jazz-funk crossover music that is truly club-ready without any editing or modification. And the flipside is just as sick!
Biography
A pillar of the Lebanese artistic scene, Ziad Rahbani was born on January 1st 1956, in Lebanon’s most famous artistic family. He is the son of composer Assi Rahbani and singer Fairuz, as well as the nephew of Mansour Rahbani, the other half of the renowned Rahbani Brothers. Ziad started contributing to his parents’ works in 1967, through an appearance in the movie “Bent Al Haress”. After his father was hospitalized following a stroke in 1972, his uncle Mansour asked him to write the music of a song written for Fairuz to sing in the Rahbani Brothers’ upcoming musical “Al-Mahatta.” The song, titled “Sa’alouni al-Nass”, was an instant hit. He also wrote the play’s second prelude, and went on to compose for a growing number of the Rahbani Brothers’ plays, including “Mais el-Rim” (1975), acclaimed for the most successful prelude in their theatrical catalogue. He staged his first play “Sahriyye” in 1973, at the age of 17. It became his passport to the world of art in Lebanon. In 1974 came “Nazl Al-Sourour.” The play marked a breaking point in his career, as he distanced himself from his parents’ works by developing a more realistic style of his own. The siege of the Palestinian refugee camp of Tal al-Zaatar in August 1976 marked Ziad’s political awakening. His subsequent move to West Beirut – the mainly Muslim and “pro-Palestinian” area of the Lebanese capital and the base of Leftist organizations – confirmed his stance as a committed artist and a political activist. Ziad’s following works were mostly satires of political and social matters in Lebanon during and after the civil war: “Bennesbeh Labokra Chou?” (1978), “Film Ameriki Tawil” (1980) and “Shi Feshil” (1983), the latter explicitly criticizing the idyllic vision that folkloric musical comedies commonly had of Lebanese society. His music is inspired by many genres, ranging from Oriental music and Lebanese folk to soul, funk, jazz and Brazilian bossa nova. Covering a significant variety of styles, his most famous albums are “Abu Ali” (1978), “Houdou’ Nesbe” (1984), “Ana Moush Kafer” (1985) and “Bema Enno” (1995). He also wrote songs for his mother Fairuz in the theatrical collaborations starting 1973. Afterwards, they worked on 7 studio albums from 1979 to 2010, and performed together in many festivals in between.
A filmic funk master piece by Lebanese composer Ziad Rahbani.
Remastered reissue of one rare folk-disco project coming from Lebanon. The producer Ziad Rahbani (a great Lebanese composer) released only one disco project for the Zida label and was pressed in avery limited run in 1978 of about 500 copies only (due to some difficulties coming from the political situation that occurred in Lebanon), so today it's not easy to find original copies in nice conditions and you have to consider that the original pressing quality wasn't at the highest levels. We have now the opportunity to buy again this masterpiece remastered and repressed in Europe at high quality levels. Ziad Rahbani (born January 1st, 1956) is a Lebanese composer, pianist, performer, playwright, and political commentator. He is the eldest son of Fairuz and Assi Rahbani. His compositions are well known throughout the Arab world, especially because he is responsible for Fairuz's musical works from 1980s onwards. Many of his musicals satirize Lebanese politics both during and after the civil war, and are often strongly critical of the traditional political establishment.
A. Abu Ali (Voice – Joseph Sacre) 13:18
B. Prelude (Theme From Mais El Rim) 12:49
Bonkers, Moog-heavy belly dance disco from Lebanon 1979! Both sides are belter, giving up the screaming Moog and mid-tempo wiggle of 'Jamileh' up top, and snake-hipped double-timed drops of 'The Joy of Lina (Farha)' on the flip.
Intense Belly Dance disco workout from Lebanon! Fortuna Records deliver two absolute dancefoor killers by Lebanese maestro Ihsan Al Munzer taken from his 1979 album, descriptively named: 'Belly Dance Disco'. Side A 'Jamileh', is a Moog filled, heavy disco-funk belter, while Side B 'The Joy Of Lina (Farha)', is a fast belly dance beast layered with synths and organs, dropping heavily in an almost modern day fashion. Swinging Beirut in full effect on this limited press 12". Don't sleep!
1. Jamileh 4:13
2. The Joy of Lina (Farha) 4:39
Notes
Limited Editions of 1000 copies
Comes in a hand stamped Brown Sleeve.
Recorded In Lebanon, 1979.
Reissued by Fortuna Records, 2015.
Richesse.
Magnifique album d'une musique inspirée, riche de belles et nombreuses influences. Un album attachant et nourrissant. Un must de la musique Raï. -Gen
Traditional rai with tasteful modernization, not at all the gaudy plastic pop stuff that is apparently considered "normal rai" at this point. The real rhythms come through here, with plenty of undigitized horn accents. Great singing from "the father of rai"! -herkyjerky
About Bellemou Messaoud
Affectionately known as 'La Pere du Rai (The Father Of Rai)', Messaoud Bellemou helped user in a new era for Algerian dance music. A trumpet player in a village band, during the 1960s, Bellemou has continued to incorporate western instruments, including saxophone, trumpet, violin, lute and accordion, and influences ranging from jazz and rock to flamenco and Latin music. ~ Craig Harris
Messaoud Bellemou is an Algerian musician and one of the most influential performers of modern raï music. Messaoud began his career playing the trumpet but soon became known for adding foreign instruments like the saxophone, violin, and accordion to the genre. He is considered by some people like one of the fathers of Modern Raï Music. The Algerian raï singer Boutaïaba Sghir has declared that the collaboration of Bellemou in Raï Music was important but Raï Music existed before the coming of Bellemou. This trumpeter has worked during the 1970s with different raï singers of his generation like Boutaïaba Sghir, Boussouar El Maghnaoui, Bouteldja Belkacem. In 1980s the term pop-raï has been used to describe the new generation of chebs and chebats (from the Arabic for "young") introducing new instruments, and together with Belkacem Bouteldja released one of the first records of the new genre.
All credit goes to gcp.
1. Rire Zarga Ouana 5:40
2. Andi Probleme 6:04
3. Chanson Pour Lekip 5:58
4. Khla Darumha Khalia 4:52
5. Musique Instrumental 5:24
6. Harai Harai Ouama 4:21
7. Lala Habibi Ouah 6:19
8. Hada Raykoum 5:25
9. Meha Ouyel I Bet 6:09
10. Lhalia Dari 7:52
Beautiful highlife music
Long regarded as a classic highlife album since its original release in 1978, Highlife Safari retains its vigor and immediacy to this day. Ghanaian highlife music is a sweet, melodic dance music; Eric Agweman began playing in 1963, slowly developing a new form called sikyi, utilizing Ashanti rhythms and traditional song medleys and the minor chords of the earlier "palm wine" style but upgraded with modern instruments and some Congolese soukous guitar licks replacing highlife's more usual horn arrangements. The resulting extended grooves have delighted party goers ever since, and these six long tracks show why; ringing guitars, swaying bass lines, and occasional stabbing horns make this a dance-floor staple even today. Also included is a rare track from Agyemen's partnership with the Korroko Band in the mid-1980s. --Derek Rath
a classic of the genre
Eric Agyeman was a highly popular guitarist from the Ashanti region. Mostly recorded in 1979 with the core of the Sweet Talks band. This is guitar-driven highlife with some horns and cheesy synths, representative of the style that was popular in the late 1970s/early 1980s -- a harder, more aggressive sound than the "palmwine" and horn-driven dance band styles that preceded it, and less Westernized than the "Burger highlife" sound that became popular later when many of the musicians ended up in Europe. A variety of singers including the inimitable A.B. Crentsil handle vocal duties. -m_noland
All credit goes to gcp.
1. Matutu Mirika 6:19
2. Abenaa Na Aden 7:21
3. Ao! Masem Yi 4:24
4. I Don't Care 8:21
5. Nea Abe Beto 7:42
6. Odo Bra 7:01
Labels: Eric Agyeman - Highlife Safari
I'll always have plenty of reasons to be grateful for the friendship of Jenny Graf Sheppard, a sound artist best known around these parts for her roles in Metalux and Bride of No No, but today I feel like thanking her specifically for getting me first hooked on the music of Congolese legend Franco Luambo Makiadi. The first song she played for me, from a terrific 1993 anthology titled 1968/1971 (Sonodisc) that collected music he made with his killer band L'OK Jazz, clobbered me on first listen—and it's never failed to give me a lift since.
I have no idea what Franco is singing about on "Koun Koue! Edo Aboyi Ngai," though some online commenters have insisted it's a tribute to James Brown—maybe because of the lumbering funk groove that takes over during the second half of the song and some impressive shouting almost worthy of the Godfather of Soul. I'm not convinced, but it doesn't matter a whit whether it's a tribute or not. Franco recorded a bunch of songs that follow a loosely similar tack—they open on a lilting but propulsive Congolese rumba feel, with liquid guitars tracing the rhythmic patterns of Cuban son and a couple of singers slaloming through the groove with disarming, infectious ease, but then they switch things up. I'm not talking about a verse colliding with a chorus, but rather a song leaping the track into what feels like another tune entirely, the way Paul McCartney often did (e.g., "Live and Let Die"). There's an irresistible guitar transition, with rapidly strummed figures mirrored by wordless vocals, and the band digs into a loose funk groove, with tight horn stabs and increasingly intense, hectoring vocals. At the end of certain phrases the singer begins shouting, grunting, and moaning. I dare you not to be sucked in by the song's power. It's today's 12 O'Clock Track—check it out below. -Peter Margasak
Franco
There's no doubt that Franco was, in every sense of the word, a big man in African music. Sometimes weighing in at 300 pounds, he also earned his nickname as "The Sorcerer of the Guitar," making it sing like no one before, with effortless, fluid lines. Also an accomplished composer and vocalist, Francois Luambo Makiadi remains a towering figure even in death, probably the greatest the Congo (later Zaire) has ever produced, and as the leader of the long-running O.K. Jazz group, he was one of the fathers of the modern Congolese sound. Born in the rural village of Sona Bata, his family moved to the capital, Leopoldville, when he was still a baby. By the age of ten he was already the master of a homemade guitar in the Belgian colony. Within a few years he was exposed to both European music, from missionaries, and the Cuban sounds that began to spread like wildfire on the radio. He made his recording debut at 15 as part of the house band for the Loningisa label, where bandleader Henri Bowane dubbed him Franco, a name that would stick with him for the rest of his life. Although he was getting plenty of studio work he also formed a band, which debuted in 1955 at the OK Bar, whose name he took a year later, calling the band O.K. Jazz. Within a year they were challenging the established stars, Dr. Nico's African Jazz, as the Congo's top group. Like many musical heroes before and since, Franco had his brushes with authority throughout his career, and the first came in 1958 when he was jailed for a motoring offense; he was released to waiting crowds, who hailed him back. In 1960 the Congo gained independence, and in the ensuing unstable political climate, Franco and O.K. Jazz, with its constantly changing personnel, headed off to Belgium to record. By 1965, with President Mobutu in power, things became better, and the band was without doubt the top name in the country, playing the Festival of African Arts in the newly-renamed capital, Kinshasa, the following year. Franco, as well as being a bandleader, guitarist, singer, and writer, proved to be a more than adept businessman, forming an empire to control his music, from the record company to spin-off bands (at one point he had two versions of O.K. Jazz -- a European one and a Zairean one). He didn't shy away from political issues on his songs, which resulted in his spending a few nights in jail several times when he displeased the authorities. Throughout the '60s and '70s, Franco and his band toured and recorded constantly, although they never managed to crack America; a brief 1983 jaunt there didn't work out as hoped. In 1980, Franco was named a Grand Maitre, a huge Zairean honor, and thus became firmly entrenched as part of the ruling clique in a country that was undergoing massive economic problems. His writing style changed dramatically, switching to patriotic praise songs and tributes to rich fans -- a 180 degree turn from the younger man he had once been. He'd ballooned up in weight in his more mature years as well, although on-stage and in the studio he could still be an incandescent player and singer. By 1987, rumors were circulating that Franco was sick, and certainly he was much slimmer. There was, perhaps, a hint in his solo recording from that year "Attention Na SIDA" ("Beware of AIDS") -- and the disease would kill him in 1989, sparking four days of national mourning in Zaire befitting a musical genius and one of the country's icons for over three decades. But he left a big legacy. Not only did he record hundreds of albums, where he and the band stretched out their material, but in O.K. Jazz he offered a launching pad for many artists, including Sam Mangwana, Papa Noel, Mose Fan Fan, and a host more. Ultimately, though, he had the vision to push the music forward, to have bands that could really play and develop the rumba style, and cope with it when it speeded up into soukous during the late '70s. And he was justifiably revered as a guitar god, even if he never became fully known in the West. ~ Chris Nickson
2. Marie Naboyi 7:34
3. Nazangi Mwana 5:40
4. Obwa Osud Jeme 5:55
5. Nsontin 5:02
6. Gaby Ozali Coupable 6:02
7. Mandona Mpungu Zifwidi 5:12
8. Liwa Yo Nde Mabe Boye 3:11
9. Mobali Na Ngai Azali Etudiant Na Mpoto 4:10
10. Jerome 6:21
11. Mbanda Asiliki 4:44
12. Infidelite Mado 6:41
13. Ma Hele 6:01
Labels: Franco & L'ok Jazz (1968-1971)
The mythical group from the Amazon was born in Pucallpa in 1966. Juaneco started on accordion, along with his dad who played saxophone and led the band at the time. They mostly covered Latin American standards, including a lot of Colombian cumbia, and called themselves a jazz band. In 1968, in the midst of an oil boom, Juaneco bought himself a farfisa organ and hired a new guitarist, Noe Fachin, who, until then, had mostly played romantic waltzes in the criollo style. The group went electric and rapidly became the first psychedelic group of the Amazon. Noe Fachin explored both these new sounds, and Ayahuasca - the indigenous psychotropic substance under whose influence he claimed to have written all his songs; an exploratory journey that bears some resemblance to that of some of his California colleagues'. The result is an unequaled musical jubilation, a sort of Amazonian Funk colored by psychedelia. In 1977, most of the group - including Noe Fachin - died in a plane crash. All the titles on the compilation were originally produced by Alberto Maravi for INFOPESA, the Peruvian label that was primarily responsible for promoting Cumbia Amazonica.
Peruvian party music for poor people and dancers
"Chicha" music, an electrified version of the party tunes that came out of the Peruvian slums, became popular in the 1960s and '70s, when the solid-body electric guitars, keyboards and synthesizers of the North American rock scene became available to regional bands in South America. It's a giddy, propulsive genre that is hard to resist. In strict musical terms, it may seem a bit monotonous, but the addition of these modern instruments, along with their newfound amplification and distortion, added both a new sonic texture and a joyful physicality to the performances, just as they did a decade earlier when American country and blues evolved into electric rock and roll. The guitar tones are both rough and fluid, recalling the surf bands of the early '60s, and the vibrant energy still translates across several decades and a large cultural divide. This disc highlights one of the better-known bands of the admittedly obscure chicha scene, Juaneco Y Su Combo, led by Juan Wong Popolizio, a Peruvian-Chinese accordionist who took the band over from his father. Along with guitarist Noe Fachin -- whose emphatic, decisive guitar work is the core of the band's sound -- Wong forged the combo into one of the most dynamic and compelling of the chicha bands. This is a fun record, packed with perky, hopped-up versions of traditional Peruvian huaynos, joropos and other regional styles (...and great for cruising to, by the way...) Check it out, and you'll be hooked. -DJ Joe Sixpack, Slipcue music reviews
The happiest dance music you've never heard
When you finish reading this, you're likely to be the only person in your circle to know about chicha. And if you bring "Masters of Chica, Vol. 1" into your home, you will almost certainly be putting this wonderful Peruvian sound into your local environment for the first time. Chicha is that obscure. And if you listen, this will make no sense to you, for those who have the good fortune to wander in while your chicha CDs are playing will say, in dazzled wonder, "This is great...uh, what is it?" Good luck explaining how this music came to be invented in dive bars in Peru. Or how that Tex-Mex Farfisa organ got in there. Or why you hear surf music. And what demon slipped some LSD in the formula so there'd be a psychedelic vibe. And, not least, who ripped off the Sergio Leone Western-movie theme music. These musicians are happy people, making music that makes other people happy. A very simple transaction, and unselfconscious, as befits music that sprang from the lower class and, if the taste-makers in South America have their way, will forever remain there. Chicha is actually a kind of liquor, home-brewed from maize and cheaper than Coke. Peruvians drink a lot of it --- which is kind of the point. The Incas may have used it in their rituals; in Lima, it's the nickname for the Saturday night music of the working class. Which is to say: It gets you high. "God respects us when we work, but He loves us when we dance," says the filmmaker Les Blank. If so, chicha is in God's top ten --- like Toots & the Maytals and Amadou & Mariam and Buena Vista Social Club, this music gets you out of your chair and moving in the very way that made Daddy want to lock your bedroom door. Music despised by right-thinking people? In my experience, always a good sign. -Jesse Kornbluth
An Amazonian garage band might seem like an odd concept, but that's exactly what Juaneco y Su Combo were (and maybe still are, as a new version is touring). They replaced the traditional accordion with a Farfisa organ, electrified the guitar and bass, and imported ideas from the Yankees along with rhythms from Brazil and Colombia. The results are actually surprisingly sophisticated, mostly thanks to guitarist Noé Fachin (nicknamed "the Witch Doctor" for his use of local psychedelics). It's very much a synthesis of styles, but the result is new and quite fresh, and very successful on instrumentals like "El Brujo." This compilation pulls together most of the tracks from their 1970 debut, El Gran Cacique, including "Mujer Hilandera," which was a hit for them. They toured extensively and successfully until 1977, when a plane crash killed five members. The others carried on with new personnel, but as "Ya Se a Muerto Mi Abuelo" shows, they couldn't recapture the spirit. Although they never go as over the top as some American garage bands (except for Fachin's brief solo on "Recordando a Fachin"), there's still a gleeful wildness to cuts like "Dale Juaneco." It's definitely the happy side of Latin psychedelia. -AllMusic Review by Chris Nickson
2. Caballito Nocturno 2:33
3. Un Shipibo En España 4:17
4. Linda Nena 3:49
5. El Pelejito Bailarin 3:24
6. Ya Se A Muerto Mi Abuelo 4:10
7. El Llanto De Ayaimama 3:34
8. Me Robaron Mi Runamula 3:11
9. Vacilando Con Ayahuasca 3:33
10. El Agua Del Higueron 2:31
11. El Hijo De La Runamula 3:191
12. El Brujo 4:27
13. La Patadita 2:46
14. Dale Juaneco 3:03
15. A La Fiesta De San Juan 2:56
16. Recordando A Fachin 2:11
Notes
Tracklist and track durations are transcribed from the back of the case. Track 06, "Ya Se A Muerto Mi Abuelo", should, gramatically, be "Ya Se Ha Muerto Mi Abuelo" and is in fact spelled that way in the liner notes.
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- Brésil : de Bahia aux Sertões 1939-1955
- Brésil: Le chant du Nordeste - Nordeste's Song 1928-1950
- Brother Claude Ely - Satan Get Back!
- Bulawayo Jazz - Southern Rhodesia (Zimbabwe) 1950 '51 '52
- Bulimundo - Bulimundo / Djam Brancu Dja
- Bullwackies All Stars - Black World Dub (Wackies)
- Bunny 'Striker' Lee - Next Cut! (Dub Plates Rare Sides & Unreleased Cuts)
- Burkina Faso: Volume 3
- Burundi: Music from the Heart of Africa
- Butch Cage & Willie B. Thomas - Old Time Black Southern String Band Music
- C.K. Mann & His Carousel 7 - Funky Highlife
- Cabaret Echoes: New Orleans Jazzers at Work 1918-1927
- Cajun Early Recordings: Important Swamp Sides Remastered (1928-1938)
- Cajun Fais Do Do
- Cajun Honky Tonk: The Khoury Recordings
- Cajun String Bands 1930's: Cajun Breakdown
- Cajun: Rare & Authentic 1928-1939
- Calabar-Itu Road: Groovy Sounds From South Eastern Nigeria (1972-1982)
- California Funk
- Calimbo Steel Band - The Heart of Trinidad LP
- Callahan Brothers - 1936
- Calypso Awakening: From The Emory Cook Collection
- Calypso Breakaway 1927-1941
- Calypso Calaloo: Early Carnival Music In Trinidad
- Calypso Carnival 1936 - 1941
- Calypso Ladies 1926-1941
- Calypso Pioneers 1912 - 1937
- Calypso: Musical Poetry In The Caribbean 1955-69
- Calypsos From Trinidad - Politics Intrigue & Violence In The 1930s
- Calypsoul 70 - Caribbean Soul & Calypso Crossover 1969-1979
- Camayenne Sofa - Attaque
- Camayenne Sofa - La Percée
- Cambodian Cassette Archives : Khmer Folk & Pop Music Vol. 1
- Cambodian Rocks (Parallel World)
- Cameroon - Flutes of the Mandara Mountains
- Can You Feel That Beat: Funk 45s and Other Rare Grooves
- Can’t You Hear Me? 70's African Nuggets & Garage Rock from Nigeria Zambia and Zimbabwe
- Cardinal Rex Lawson & His Mayor's Band Of Nigeria - Rex Lawson's Greatest Hits
- Caribbean Folk Music Vol. 1 (Folkways)
- Caribbean Island Music - Recorded in the Islands by John Storm Roberts
- Caribbean Revels: Haitian Rara and Dominican Gaga
- Carl Holmes - Investigation No.1 (Tramp)
- Carl T. Sprague - Cowtrails Longhorns & Tight Saddles: Cowboy Songs 1925-1929
- Carlos Casas - Pyramid of Skulls
- Carlos Lamartine - Histórias Da Casa Velha
- Carlos Paredes - Guitarra Portuguesa (1967) / Movimento Perpetuo (1971)
- Carolina Funk
- Cartagena! Curro Fuentes & The Big Band Cumbia and Descarga Sound Of Colombia 1962-72
- Carter Sisters & Mother Maybelle with Chet Atkins 1949 (Country Routes RFD CD 40)
- Carter Sisters and Mother Maybelle with Chet Atkins (Country Routes RFD CD 35)
- Carter Sisters With Mother Maybelle & Chet Atkins (Country Routes RFD CD 39)
- Cash-A-Likes (Trailor Park Records)
- Celestine Ukwu - Greatest Hits
- Chains And Black Exhaust (2002)
- Charlie Poole - The Essential Charlie Poole Box set
- Charlie Poole with the Highlanders - The Complete Paramount & Brunswick Recordings 1929
- Chet Atkins with the Carter Sisters and Mother Maybelle 1949 (Country Routes RFD CD 37)
- Chief Ebenezer Obey - Juju Jubilation
- Chief Stephen Osita Osadebe - Sound Time
- Chief Stephen Osita Osadebe - The Best Of Vol. 2
- Choubi Choubi!: Folk & Pop Sounds from Iraq Vol. 1
- Choubi Choubi!: Folk & Pop Sounds from Iraq Vol. 2
- Clarence Ashley - Country Music Pioneer 1927-1935
- Classic Field Recordings: Landmark Country Sessions from a Lost Era (1936 to 1940)
- Classroom Projects: Incredible Music Made By Children In Schools
- Clawhammer Banjo Volume 1 - 3
- Clayton McMichen 1925-1927
- Club Africa Vol. 1+2 (Strut)
- Cluck Old Hen: A Barnyard Serenade 1926-1940
- Cobles Catalanes - Enregistrements 78 tours (1920-1930)
- Cold Heat - Heavy Funk Rarities Vol. 1
- Colombia! The Golden Age Of Discos Fuentes - The Powerhouse of Colombian Music 1960-76
- Colonial Dance Bands - Kenya/Tanganyika/Portuguese East Africa/Northern Rhodesia/Belgian Congo 1950 & 1952
- Compilation Orchestres Congolo-Zairois 1967/1968/1970/1974
- Conjunto Mané Pchei - Cabo Verde: Ilha De São Nicolau
- Cool Europa: European Progressive Jazz in Germany 1959-63
- Corridos & Tragedias de la Frontera: First Recordings of Historic Mexican-American Ballads (1928-1937)
- Cortijo - The Ansonia Years: 1969-1971
- Country fiddle: Fine early string band music 1924-1937 Box set
- Country Gospel - The Post War Years (1946-1953)
- Country Negro Jam Session
- Country Quebec: 1925-1955
- Cuarteto Coculense - The Very First Mariachi Recordings: Sones Abajeños (1908-1909)
- Cuarteto Machín - Échale Salsita
- Cuarteto Marcano 1939-45
- Cuban Danzoneras 1932-46
- Cult Cargo: Belize City Boil Up
- Cult Cargo: Grand Bahama Goombay
- Cult Cargo: Salsa Boricua De Chicago
- Cults Percussion Ensemble
- Culture - Two Sevens Clash (40th Anniversary Edition) (2CD) (2017)
- Cumbia Beat Vol. 1: Experimental Guitar-Driven Tropical Sounds From Perú 1966/1976
- Cumbia Beat Vol. 2: Experimental Guitar-Driven Tropical Sounds From Perú 1966/1983
- Cumbia Cumbia 1 & 2 (World Circuit)
- Cybe - Tropisch Verlangen
- Czech Up! Vol. 1: Chain of Fools
- D.L. Menard - The Back Door and Other Cajun Classics
- D.O. Misiani & Shirati Jazz: The King Of History: Classic 1970s Benga Beats From Kenya
- Da Costa Woltz's Southern Broadcasters & Frank Jenkins' Pilot Mountaineers (1927-1929)
- Dabke - Sounds Of The Syrian Houran
- Dakar Sound Volume 1: Etoile 2000
- Dakar Sound Volume 2: Sorano Singers
- Dakar Sound Volume 3: Latin Thing
- Dakar Sound Volume 4: Their Thing
- Dakar Sound Volume 6: No1 de No1
- Dakar Sound: No2 de No1 - Star Band Number One
- Dalgas - Andonios Dhiamandidhis 1928-1933
- Dancing With The Dead: The Music Of Global Death Rites
- Daniel Johnston - 1990
- Dara Puspita 1966-1968
- Darby & Tarlton [JSP Box Set]
- Dark City Sisters And Flying Jazz Queens
- Dave Barker - Monkey Spanner
- Dave Tarras - Freilach Yidelach: Master of Klezmer Music Volume Two
- Dave Tarras - Yiddish-American Klezmer Music 1925-1956
- Dead & Gone #1: Trauermärsche - Funeral Marches
- Deep River of Song: Alabama: From Lullabies to Blues [Alan Lomax]
- Deep River of Song: Bahamas 1935 Vol. 2 - Ring Games and Round Dances [Alan Lomax]
- Deep River of Song: Bahamas 1935: Chanteys And Anthems From Andros And Cat Island [Alan Lomax]
- Deep River of Song: Big Brazos - Texas Prison Recordings 1933-34 [Alan Lomax]
- Deep River of Song: Black Appalachia: String Bands Songsters and Hoedowns [Alan Lomax]
- Deep River of Song: Black Texicans: Ballads and Songsters of the Texas Frontier [Alan Lomax]
- Deep River of Song: Georgia: I’m Gonna Make You Happy [Alan Lomax]
- Deep River of Song: Louisiana: Catch That Train and Testify! [Alan Lomax]
- Deep River of Song: Mississippi - Saints and Sinners [Alan Lomax]
- Deep River of Song: Mississippi: The Blues Lineage [Alan Lomax]
- Deep River of Song: South Carolina: Got the Keys to the Kingdom [Alan Lomax]
- Deep River of Song: Virginia and the Piedmont: Minstrelsy Work Songs and Blues [Alan Lomax]
- Del's Jazz Biguine : Les Années Ritmo Paris 1951-1953
- Delma Lachney / John Bertrand / Blind Uncle Gaspard - Early American Cajun Music from the 1920s
- Delmore Brothers - Classic Cuts 1933-1941 Box set
- Delmore Brothers - The Later Years Vol. 2 (1933-1952)
- Delta Dandies - Dance Bands in Nigeria 1936-1941
- Dengue Fever Presents: Electric Cambodia
- Dennis Alcapone - Forever Version (Deluxe Edition)
- Dennis McGee - Complete Early Recordings 1929-1930
- Derrick Harriott - Reggae Funk & Soul 1969-1975
- Derrick Harriott - Rock Steady 1966-1969
- Derrick Harriott - Ten Singles Set Pt. 1 - 4
- Dexter Johnson & Le Super Star de Dakar - Live A l'Étoile
- Dexter Johnson & Super Star De Dakar - Serie Sangomar 1; Anthology
- Dezurik Sisters - Yodel and Sing Their Greatest Hits
- Diablos Del Ritmo: The Colombian Melting Pot 1960 - 1985
- Diggin': Hot Small Label Texas Swing 1946-1955
- Dillinger - Cocaine In My Brain: Anthology 1973-1979
- Dillinger - Talkin' Blues (Disco Style LP)
- Disco Dildar
- Discotheque 70 - 76 Guinée
- Django Reinhardt - In Solitaire: Complete Recordings for Solo Guitar 1937-1950
- Django Reinhardt - The Classic Early Recordings Box set
- Djelimady Tounkara & L'Orchestre Super Rail Band International - Allo Bamako
- Dock Boggs - Country Blues: Complete Early Recordings (1927-29)
- Dock Boggs - His Folkways Years (1963-1968)
- Docteur Nico - Merveilles Du Passé 1967
- Docteur Nico/Rochereau/Roger: L'African Fiesta Volume 1 (1962-1963)
- Domingo Justus - Roots Of Juju 1928
- Dominican Republic - Merengue: Haiti/Cuba/Virgin Islands/Bahamas/New York 1949-1962
- Don Bikoff - Celestial Explosion
- Don Carlos & Gold - Never Run Away (2006)
- Don't Trust Your Neighbors: Early Albanian Traditional Songs & Improvisations 1920s-1930s
- Don’t Think I’ve Forgotten: Cambodia’s Lost Rock And Roll
- Donald Kachamba - Simanje-Manje And Kwela From Malawi
- Doom & Gloom: Early Songs of Angst and Disaster 1927-1945
- Down in a Tenement Yard: Sufferation and Love in the Ghetto 1973-1980
- Down in the Basement: Joe Bussard's Treasure Trove of Vintage 78s 1926-1937
- E. C. Ball with Orna Ball
- E.T. Mensah & The Tempos - King of Highlife Anthology Box set
- Earl Johnson - Complete Recorded Works Vol. 2 (1927-1931)
- Earl Johnson - Complete Recorded Works Volume 1 (1927)
- Early Cante Flamenco: Classic Recordings From The 1930's
- Early Cuban Danzon Orchestras 1916-1920
- Early Mandolin Classics Volume 1
- Early Music Of The North Caribbean 1916-1920
- Early Tzigane Records: Budapest-Monte Carlo-Madrid-Berlin-Milan-Paris 1898-1922
- East of Underground: Hell Below box set
- Ebo Taylor - Ebo Taylor (Vinyl)
- Ebo Taylor - Life Stories: Highlife and Afrobeat Classics 1973-1980
- Ebo Taylor - My Love And Music (Vinyl)
- Ebo Taylor - Twer Nyame (Vinyl)
- Eccentric Soul - A Red Black & Green Production
- Eccentric Soul - Capitol City Soul
- Eccentric Soul - Mighty Mike Lenaburg
- Eccentric Soul - Omnibus vol. 1
- Eccentric Soul - Sitting In The Park
- Eccentric Soul - Smart's Palace
- Eccentric Soul - The 4-J Label
- Eccentric Soul - The Bandit Label
- Eccentric Soul - The Big Mack Label
- Eccentric Soul - The Capsoul Label
- Eccentric Soul - The Cash Label
- Eccentric Soul - The Deep City Label
- Eccentric Soul - The Dynamic Label
- Eccentric Soul - The Forte Label
- Eccentric Soul - The Nickel & Penny Labels
- Eccentric Soul - The Outskirts Of Deep City
- Eccentric Soul - The Prix Label
- Eccentric Soul - The Saadia Label
- Eccentric Soul - The Tragar & Note Labels
- Eccentric Soul - The Viscojon Label
- Eccentric Soul - The Way Out Label
- Eccentric Soul - The Young Disciples
- Eccentric Soul - Twinight's Lunar Rotation
- Echoes Of Africa (Early Recordings 1920's to 50's)
- Eck Robertson - Old Time Texas Fiddler 1922-1929
- Ecuador And Colombia: Marimba Masters And Sacred Songs (The Afro Decendent Musicians Of The Pacific Coastal Region)
- Ed Haley Volume 1: Forked Deer
- Ed Haley Volume 2: Grey Eagle
- Eddie Bo - In the Pocket with Eddie Bo (Bonus Single)
- Edmony Krater Et Zepiss - Tijan Pou Velo
- Edward Larry Gordon (Laraaji) - Celestial Vibration
- Efisio Melis and Antonio Lara - Launeddas
- Eji Oyewole - Charity Begins at Home
- El Barrio: Sounds from the Spanish Harlem Streets
- El Barrio: The Bad Boogaloo - Nu Yorican Sounds 1966-1970
- El Rego Et Ses Commandos
- Elizabeth Cotten - Freight Train And Other North Carolina Folk Songs and Tunes
- Emahoy Tsegué-Maryam Guèbrou - Éthiopiques 21 : Piano Solo
- Enjoy The Experience - Homemade Records 1958-1992
- Ennanga Vision - Ennanga Vision (Soundway)
- Ennio Morricone - Crime And Dissonance
- Eric Agyeman - Highlife Safari
- Ernest Stoneman 1926 Vol.1
- Errol 'Flabba' Holt: Roots Radics Dub (2017)
- Errol Brown - Orthodox Dub (2016)
- Ethiopia: Ari Polyphonies
- Éthiopiques 1: Golden Years Of Modern Ethiopian Music 1969-1975
- Ethiopiques 13: Ethiopian Groove - The Golden Seventies
- Ethiopiques 18 - Asguèbba!
- Éthiopiques 2: Tetchawet!
- Ethiopiques 5: Tigrigna Music 1970-1975
- Ethiopiques 7'' Box Set (2017)
- Ethiopiques 8 - Swinging Addis 1969-1974
- Ethiopiques Vol. 10: Tezeta - Ethiopian Blues & Ballads
- Ethiopiques Vol. 12: Konso Music and Songs
- Ethiopiques Vol. 15 - Europe Meets Ethiopia: Jump To Addis
- Ethiopiques Vol. 24: Golden years of Modern Ethiopian Music (1969-1975)
- Ethiopiques Vol. 25: 1971–1975 Modern Roots
- Ethiopiques Vol. 26: Mahmoud Ahmed 1972-1974 (feat. Imperial Body Guard Band)
- Ethiopiques Vol. 3: Golden Years of Modern Ethiopian Music
- Ethnic Minority Music of Southern Laos
- Eureka Brass Band - Jazz at Preservation Hall Vol. 1: The Eureka Brass Band of New Orleans
- Eureka Brass Band - New Orleans Funeral & Parade: The Original 1951 Session
- Every Song Has Its End: Sonic Dispatches from Traditional Mali
- Exotic Voices and Rhythms of the South Seas: Pacific Recordings by David Fanshawe
- Fado De Lisboa: Fados From Portugal 1928–1936 Volume One
- Fado: Coimbra-Lisbonne 1949-1961 Vol. 2
- Fado: Lisboa-coimbra 1926-1931
- Fados From Portugal Vol.2: Fado de Coimbra 1926-1930
- Fall Of Man: Calypsos On The Human Condition 1935-1941
- Fania Records 1964-1980: The Original Sound of Latin New York (Strut)
- Fantabulous (Soul Patrol Records)
- Father's Children - Who's Gonna Save The World
- Feeling Nice Vol. 1 - 3: A Collection Of Super Rare & Super Heavy Funk 45s From The Late '60s & Early '70s (Tramp Rec)
- Fela Kuti - Koola Lobitos/The '69 Los Angeles Sessions
- Fela Kuti - The Best of the Black President
- Fela Kuti - The Best Of The Black President 2
- Fela Ransome Kuti - Lagos Baby 1963-1969 (Vampi Soul)
- Field Recordings Vol. 1 - 17 (Document)
- Fight On Your Time Ain’t Long (Mississippi Records)
- Fire in My Bones: Raw + Rare + Otherworldly African-American Gospel (1944-2007)
- Five Days Married & Other Laments: Song and Dance From Northern Greece 1928-1958
- Flamenco 1952-1961
- Florida Funk
- Flowers in the Wildwood: Women in Early Country Music 1923-1939
- Floyd's Early Cajun Singles 1957-60
- Folk And Pop Sounds Of Sumatra Vol.1
- Folk And Pop Sounds Of Sumatra Vol.2
- Folk Music of Albania recorded in the field by A. L. Lloyd
- Folk Music of the Sahel Vol. 1: Niger
- Folks He Sure Do Pull Some Bow! Vintage Fiddle Music 1927-1935: Blues Jazz Stomps Shuffles & Rags
- Folksongs of Another America: Field Recordings from the Upper Midwest 1937–1946
- Folksongs of the Louisiana Açadians Vol. 1
- Follow Me to the Popcorn: The Untold History of the Belgium Popcorn Scene (2016)
- Fonotone Records: Frederick- Maryland (1956-1969)
- Forest Music: Northern Belgian Congo 1952
- Forgotten Guitars From Mozambique: Portuguese East Africa 1955 '56 '57
- Francis Bebey - Akwaaba: Music For Sanza aka African Moonlight
- Franco & L'ok Jazz (1968-1971)
- Franco & Le TPOK Jazz - Francophonic: A Retrospective Vol. 1 1953-1980
- Franco & Le TPOK Jazz - Francophonic: A Retrospective Vol. 2 1980-1989
- Frank Fairfield - Frank Fairfield
- Frank Proffitt Sings Folk Songs
- Frankie Zhivago Young - The Age Of Flying High
- Fred Fisher Atalobhor And His Ogiza Dance Band - African Carnival
- Fred McDowell - Amazing Grace
- Fred McDowell - My Home Is In The Delta
- Freedom Family - Ayentsoo (2013)
- Freedom Jazz France - Spiritual Jazz From The Hexagon 1968 to 1986
- From Afrocuban Music to Salsa - Dr. Olavo Alén Rodriguez
- From Galway to Dublin - Early Recordings of Traditional Irish Music 1921-1959
- From The Copperbelt... Zambian Miners' Songs
- Front Line Presents Reggae Discomixes 1977 to 1981
- Full Up: Bunny 'Striker' Lee's Early Reggae Productions 1968-72
- Fun-Da-Mental - There Shall Be Love! (Extra Tracks)
- Function Underground: The Black & Brown American Rock Sound 1969-1974
- Funky Chicken: Belgian Grooves From The 70's (Deluxe Edition)
- Funky Chimes: Belgian Grooves From The 70's
- Funky Music Machine (Soul Patrol Records)
- Gajdy and Bock : Goat and Billygoat: Bagpipes from Central Europe
- Gastonia Gallop: Cotton Mill Songs & Hillbilly Blues 1927-1931
- Gay Life In Dikanka [Robert Crumb]
- Gennett Jazz 1922-1930: From The Joe Bussard Collection
- Gennett Old Time Music: Classic Country Recordings 1927-1934
- George Clinton with Parliaments / Funkadelic - The Singles 1967-1971 (Vinyl)
- George Pegram - George Pegram
- George Sibanda - The Legendary George Sibanda
- George Williams Aingo - Roots Of Highlife 1927
- Georgia Folk: A Sampler of Traditional Sounds (1928-1989)
- Geraldo Pino & The Heartbeats - Heavy Heavy Heavy
- Getatchew Mekurya - Ethiopiques 14; Negus Of Ethiopian Sax
- Gevorg Dabaghyan - Miniatures: Masterworks for Armenian Duduk
- Ghana Funk From The 70's
- Ghana Soundz Vol. 2: Afro-Beat Funk And Fusion In 70's Ghana
- Ghana Soundz Vol.1: Afro-Beat Funk And Fusion in 70's Ghana
- Ghana Special: Modern Highlife Afro-Sounds & Ghanaian Blues 1968-81
- Ghana: Electric Highlife - Sessions from the Bokoor Studios
- Giants Of Danceband Highlife: Tempos-Ramblers-Uhuru
- Gid Tanner And The Skillet Lickers - Old Timey's Favorite Band Box set
- Gipsy Rhumba: The Original Rhythm of Gipsy Rhumba in Spain 1965-74
- Give Me Love: Songs Of The Brokenhearted - Baghdad 1925-1929
- Glad I Found The Lord: Chicago Gospel 1937-1957
- Gladstone Anderson - Don't Look Back
- Glen Brown - Dubble Attack: The Original Pantomime Dee-Jay Collection 1972-1974
- Global Accordion - Early Recordings
- Gloria Ann Taylor - Love Is A Hurtin' Thing + Singles
- Gnonnas Pedro - Belle Epoque Vol.1: 1965-1975
- Golden Afrique Vol.1
- Golden Afrique Vol.2
- Golden Afrique Vol.3
- Golden Voices from the Silver Screen: Classic Indian Film Soundtrack Songs Volume 1 - 3
- Good for What Ails You: Music of the Medicine Shows 1926 - 1937
- Good God! A Gospel Funk Hymnal
- Good God! Born Again Funk
- Good God! Heavy Funk Covers Of James Brown From All Over The World 1968-1974
- Good God!: Apocryphal Hymns
- Goodbye Babylon box
- Goush Bedey - Funk Psychedelia & Pop From The Iranian Pre-Revolution Generation
- Gózalo!: Bugalú Tropical Vol. 1
- Gózalo!: Bugalú Tropical Vol. 2
- Gózalo!: Bugalú Tropical Vol. 3
- Gózalo!: Bugalú Tropical Vol. 4
- Great Voices Of Constantinople 1927-1933
- Greece - Music From the Island of Karpathos
- Greek Rhapsody: Instrumental Music From Greece 1905 - 1956
- Gregory Isaacs - Gregory Isaacs In Dub: Dub A De Number One
- Growling Tiger - High Priest of Mi Minor: Knockdown Calypsos
- Guelewar Band Of Banjul - Warteef Jiggen CD (1981/2016)
- Guinée : Musiques Des Kpelle (Guinea : Kpelle Music)
- Guitar Evangelists 1928 - 1951
- Guitar Paradise of East Africa
- Guitars of the Golden Triangle: Folk and Pop Music of Myanmar (Burma) Vol. 2
- Gumboot Guitar: Zulu Street Guitar Music From South Africa
- Gus Viseur - Compositions 1934-1942
- Gyedu-Blay Ambolley - Simigwa
- Hailu Mergia And The Walias - Tche Belew
- Haiti - Meringue & Konpa 1952-1962
- Haiti Direct: Big Band; Mini Jazz & Twoubadou Sounds 1960-1978
- Hallelujah Chicken Run Band - Take One (1974-79)
- Hanoi Masters - War Is A Wound Peace Is A Scar
- Hard Times Come Again No More Vol. 1: Early American Rural Songs of Hard Times and Hardships
- Hard Times Come Again No More Vol. 2: Early American Rural Songs of Hard Times and Hardships
- Harmika Yab Yum: Folk Sounds from Nepal
- Harry Choates - Five-Time Loser 1940-1951
- Harry Choates - The Fiddle King Of Cajun Swing
- Harry Kandel - Master of Klezmer Music: Russian Sher
- Harry Mudie Meet King Tubby - In Dub Conference Vol. 3
- Harvey Averne Barrio Band - Harvey Averne Barrio Band (CD/1994)
- Hawaiian Memories - Rare Transcription Discs 1936-1947
- Hawaiian Slack Key Guitar Masters Collection Vol. 2
- Hawaiian Slack Key Guitar Masters Vol. 1
- Hawaiian Steel Guitar Classics 1927-1938
- Heads Funk Band - Hard World
- Hedzoleh Soundz - Hedzoleh (Soundway)
- Henry Whitter 1923-1924
- High Atmosphere - Ballads and Banjo Tunes from Virginia and North Carolina
- Highlife - High Ups: La Musique du Gold Coast des Années 60
- Highlife On The Move: Selected Nigerian & Ghanaian Recordings From London & Lagos - 1954-66
- Highlife Time Vol 2: Nigerian & Ghanaian Classics From The Golden Years
- Highlife Time Vol.1: Nigerian and Ghanaian Sound from the 60's and early 70's
- Hillbillies in Hell: Country Music's Tortured Testament (1952-1974)
- History Of Carnival - Christmas Carnival Calenda And Calypso From Trinidad 1933-1939
- Hit Bound! The Revolutionary Sound of Channel One
- Hobart Smith - Blue Ridge Legacy: The Alan Lomax Portrait Series
- Hobart Smith - In Sacred Trust: The 1963 Fleming Brown Tapes
- Hollerin'
- Home Schooled: The ABCs Of Kid Soul
- Horace Andy / Wayne Jarrett / The Wailers - The Kingston Rock (2016)
- Horoya Band - Pay-Paya
- Hot Music From Cuba 1907-1936
- Hot Women [Robert Crumb]
- Houghas Sorowonko - A Groovy Christmas and New Year / The Soul of Christmas (Academy Special Single Series)
- House And Land - House And Land
- How Low Can You Go? Anthology of the String Bass (1925-1941)
- Hugo Mendez Presents Tropical Funk Experience: Island Jump Up - Caribbean Funk Soul Reggae Calypso and Afro Grooves 1968-1975
- Hula Blues - Vintage Steel Guitar Instrumentals from the '30s and '40s
- Hustle! Reggae Disco (Expanded 2017 Edition)
- I Belong to This Band: Eighty-Five Years of Sacred Harp Recordings
- I Heard The Angels Singing: Electrifying Black Gospel From The Nashboro Label 1951-1983
- I Listen to the Wind That Obliterates My Traces : Music in Vernacular Photographs (1880-1955)
- I-Roy - Gussie Presenting I-Roy (2009)
- I-Roy - The Observer Book Of Roy Samuel Reid (CD)
- I.K. Dairo - Juju Master I.K. Dairo Mbe
- I.K. Dairo MBE & His Blue Spots - Definitive Dairo
- I'm on My Journey Home: Sacred Harp Singing 1927-1934
- I've Found My Love: 1960's Guitar Band Highlife of Ghana
- Ibimeni: Garifuna Traditional Music from Guatemala
- Idrissa Diop & Cheikh Tidiane Tall - Diamonoye Tiopité (L’ Époque De L’ Évolution)
- Ignace De Souza - The Great Unknowns : Shambros/Melody Aces/Black Santiagos
- Ihsan Al Munzer - Belly Dance Disco EP
- Ikhwani Safaa Musical Club - Taarab 2 / Music Of Zanzibar
- Imaginational Anthem Vol. 1-3
- Imaginational Anthem Vol. 5
- Imaginational Anthem Vol. 6 : Origins Of American Primitive Guitar
- Imaginational Anthem Vol. 7
- Imaginational Anthem Vol. 8: The Private Press
- Imo Brothers International - Ije Love - Journey of Love
- Impact All Stars - Java Java Java Java (Instrumentals Dubwise Versions)
- In Dialetto Sardo: Music Of Sardinia 1930-1932
- In the Pines: Tar Heel Folks Songs & Fiddle Tunes 1926-1936
- In The Storm So Long (Mississippi Records)
- Indian Talking Machine: 78 RPM Record and Gramophone Collecting on the Sub-Continent
- Infinite Spirit Music - Live Without Fear
- International Soleil Band - Ta Lassa 12" (Soundway)
- Invasion Funk Masters: 12 Superrare Heavyweight Fantabulous Funk Monsters From The Sixties & Seventies
- Ion Petre Stoican - Comori ale muzicii Lautaresti
- Ion Petre Stoican - Sounds from a Bygone Age Vol. 1
- Irish Dance Music (Topic)
- Ishilan N-Tenere - Guitar Music From The Western Sahel
- Ishq Ke Maare: Sufi Songs from Sindh and Punjab; Pakistan
- Isle Of Golden Dreams: Music of Hawaii (1928-1957)
- Issa Juma And Super Wanyika Stars - World Defeats The Grandfathers
- It's Hotter in Hawaii: Early hits from a unique musical style Box set
- Italian Treasury - Abruzzo [Alan Lomax]
- Italian Treasury - Calabria [Alan Lomax]
- Italian Treasury - Emilia-Romagna [Alan Lomax]
- Italian Treasury - Folk Music And Song From Italy: A Sampler [Alan Lomax]
- Italian Treasury - Liguria: Baiardo And Imperia [Alan Lomax]
- Italian Treasury - Liguria: Polyphony of Ceriana [Alan Lomax]
- Italian Treasury - Lombardia [Alan Lomax]
- Italian Treasury - Piemonte and Valle d'Aosta [Alan Lomax]
- Italian Treasury - Puglia: The Salento [Alan Lomax]
- Italian Treasury - Sicily [Alan Lomax]
- Italian Treasury - The Trallaleri Of Genoa [Alan Lomax]
- Ivory Coast Soul - Afrofunk in Abidjan from 1972 to 1982
- Ivory Coast Soul 2 - Afro Soul In Abidjan From 1976 To 1981
- J.B. Smith - No More Good Time In the World For Me
- J.E. Mainer - Classic Sides 1937-1941
- J.E. Mainer - The Early Recordings 1935-1939
- J.E. Mainer’s Mountaineers - Run Mountain
- Jack Costanzo - Mr Bongo (2015)
- Jack Rose - Kensington Blues
- Jack Rose - Dr. Ragtime And His Pals/Self-Titled
- Jack Rose - Luck in the Valley
- Jack Rose & The Black Twig Pickers
- Jack Ruby Presents The Black Foundation
- Jacob Mafuleni & Gary Gritness - Atuka Mhondoro 808
- Jacob Mafuleni & Gary Gritness - Batanidzo
- Jacob Sam & Kumasi 3: Volume 2 - 1928
- Jah Son Invasion
- Jamaica Is The Place To Go: An Invitation To Jamaican Mento
- Jarana's Four Aces: Vocal Duels from the Streets of Lima
- Jazz the World Forgot Vol. 1
- Jazz the World Forgot Vol. 2
- Jean-Claude Vannier - L'enfant Assassin Des Mouches (Finders Keepers Records)
- Jean-Pierre Mirouze - Le Mariage Collectif (Original Motion Picture Soundtrack)
- Jenks Tex Carman - Hillbilly Hula
- Jeunes Orchestres Zaïrois (1971/1973/1974/1975)
- Joe Mansano - Joe The Boss: The Productions Of Joe Mansano
- Joe Meek & the Blue Men - I Hear a New World: An Outer Space Music Fantasy
- Joe Mensah - Cry Laughter
- John Fahey - Return of the Repressed: The John Fahey Anthology
- John Fahey - Your Past Comes Back To Haunt You: The Fonotone Years (1958-1965)
- John Heartsman And Circles - Music of My Heart
- John Peel And Sheila - The Pig's Big 78s: A Beginner's Guide
- Johnny Clarke - A Ruffer Version: Johnny Clarke At King Tubby's 1974-78
- Johnny Richards - The Rites Of Diablo (2012)
- Jose Prates / Miecio Askanasy - Tam...Tam...Tam!
- Joseph Moskowitz - The Art of the Cymbalom: Music of Joseph Moskowitz 1916-1953
- Joseph Spence - Discography
- Juan Reynoso - Plays Sones & Gustos; Historic Recordings 1972-1993
- Juaneco Y Su Combo - Masters Of Chicha Vol. 1
- Juaneco Y Su Combo - The Birth Of Jungle Cumbia
- Juju Roots: 1930s-1950s
- Junior Soul - Sings For The People + Soul Man Dub (2017)
- Justin Hines And The Dominoes - Jezebel (1976)
- K. Frimpong & His Cubano Fiestas - The Black Album
- K. Frimpong & His Cubano Fiestas - The Blue Album
- K.S. Chithra - St
- Kadri Gopalnath - Gem Tones: Saxophone Supreme - South Indian Style
- Kalama's Quartet - Early Hawaiian Classics 1927-1932
- Kante Manfila & Sorry Bamba - Clash Mandingue: Manding Dance Music Of The 60s
- Kanyok and Luba: Southern Belgian Congo 1952 & 1957
- Karantamba -Ndigal
- Kashmere Stage Band - Texas Thunder Soul 1968-1974
- Kassa Tessema - Ethiopiques Vol. 29: Mastawesha
- Kassidat - Raw 45s from Morocco
- Katanga! Ahbe Casabe: Exotic Blues & Rhythm Vol. 1 & 2
- Keith Hudson - Pick A Dub Deluxe (2016)
- Keith Hudson - Steaming Jungle (Vinyl)
- Kelenkye Band - Moving World
- Kélétigui et ses Tambourinis - The Syliphone Years
- Kenny Cox - Clap Clap! The Joyful Noise
- Kenya Dance Mania
- Kenya Special: Selected East African Recordings From The 1970s & '80s
- Kenya Special: Volume Two (Selected East African recordings from the 1970s & 80s)
- Kenyan Songs and Strings: Kenya 1950 & 1952
- Kerestina: Guitar Songs of Southern Mozambique 1955-1957
- Kesarbai Kerkar - Kesarbai Kerkar
- Kessinger Brothers - Complete Recorded Works Vol. 1: 1928-1929
- Kessinger Brothers - Complete Recordings Vol. 2: 1929
- Kessinger Brothers - Complete Recordings Vol. 3: 1929-1930
- Khana Khana: Funk Psychedelia & Pop From The Iranian Pre-Revolution Generation
- Khmer Rouge Survivors - They Will Kill You If You Cry
- Kid Dynamite - Kulembanban (Incl. Surinam Jazz LP)
- Killing Melody: Instrumental Music From Japanese Pinky Violence Movies
- King Bennie Nawahi - Hawaiian String Virtuoso: Steel Guitar Recordings of the 1920's
- King Bruce & The Black Beats - Golden Highlife Classics of the 1950s and 1960s
- King Bullard Version - Songs Of The BOS Label
- King Onyina - King Onyina's Guitar Highlife
- King Sighter - The One Eyed Giant
- King Sunny Ade - Best of the Classic Years
- King Tubby - The Dub Master Presents The Roots Of Dub And Dub From The Roots (Moll-Selekta)
- King Tubby on the Mix Vol. 1+2
- Kink Gong - Imer Zeillos: Asian Variations For Saz Cura & Tanbur
- Kink Gong - Tanzania
- Kink Gong - Voices (LP)
- Klezmer: Early Yiddish Instrumental Music 1908-1927
- Kneelin' Down Inside The Gate: The Great Rhyming Singers of the Bahamas
- Knowledge - Kebra Nagast
- Kondi Band - Salone
- Kouté Jazz - A Collection Of Rare Jazz Tracks From The French West Indies 1975-1988
- Kumasi Trio 1928
- Kwaku Baah & Ganoua - Trance
- L'Orchestre Kanaga de Mopti
- L'Orchestre Sidi Yassa de Kayes
- Lafayette Afro-Rock Band - Darkest Light: The Best Of (Strut)
- Lagos All Routes - Juju & Highlife Apala & Fuji
- Lagos Chop Up - Fuji & Afrobeat Highlife & Juju
- Lamento Borincano (Puerto Rican Lament): Early Puerto Rican Music 1916-1939
- Latinamericarpet: Exploring The Vinyl Warp Of Latin American Psychedelia Vol.1
- Laurent Jeanneau / Kink Gong - Soundscape China
- Lawrence Walker - The Essential Collection of Lawrence Walker
- Le Gran Mamou: A Cajun Music Anthology - The Historic Victor–Bluebird Sessions 1928–1941 Vol. 1
- Le Grand Kallé - His Life His Music: Joseph Kabasele and the Creation of Modern Congolese Music
- Le Kéné-Star de Sikasso
- Le Mystère Jazz de Tombouctou
- Le Super Biton National de Ségou
- Le Super Borgou De Parakou - The Bariba Sound 1970-1976
- Le Violon Traditionnel En France: Dauphiné : Les Pays Du Rigodon Champsaur - Gapençais - Beaumont 1939-1977
- Lead Kindly Light: Pre-War Music & Photo
- Leadbelly - Important Recordings 1934-1949 Box set
- Leaf Music Drunks Distant Drums - Recordings From Laos-Cambodia-Thailand & Myanmar
- Leake County Revelers - Complete Recorded Works Volume 1 (1927-1928)
- Lee "Scratch" Perry - The Upsetter Compact Set (Trojan)
- Lee Hazlewood - The LHI Years: Singles Nudes & Backsides (1968-71)
- Lee Hazlewood - These Boots Are Made For Walkin' : The Complete MGM Recordings
- Lee Perry - Sound System Scratch - Lee Perry's Dub Plate Mixes 1973 To 1979
- Lee Perry & His Upsetters present Roaring Lion - 16 untamed Black Art masters & dub plates
- Lee Perry and The Sufferers' - The Sound Doctor: Black Ark Singles & Dub Plates 1972-1978
- Legends Of Benin: Afro-Funk / Cavacha / Agbadja / Afro-Beat 1969-1981
- Lena Hughes - Queen Of The Flat Top Guitar
- Les Amazonnes De Guinee - Au coeur de Paris & M'mah Sylla (Bolibana Collection)
- Les Ambassadeurs du Motel de Bamako
- Les Frères Ferret - Les Gitans De Paris 1938-1956
- Les Freres Guillemain - Berry-Bourbonnais
- Les Merveilles Du Passé 1957-1975
- Les Vikings De La Guadeloupe - Best Of 1966-2016 - Enko On Ti Tou
- Lesley Riddle - Step by Step: Lesley Riddle Meets the Carter Family
- Let Me Play This for You: Rare Cajun Recordings 1929-1930
- Let No One Judge You: Early Recordings from Iran 1906 - 1933
- Life Is A Problem... (Mississippi Records)
- Life Is Dance!: Plugged-In Sounds Of Wonder At The Pakistani Picture House
- Light: On The South Side (Numero Group)
- Linval Thompson - Rocking Vibration & Love Is The Question
- Lionel Belasco - Goodnight Ladies and Gents: The Creole Music of Lionel Belasco
- Liquid Liquid - Liquid Liquid (1997)
- Liquid Liquid - Slip In And Out Of Phenomenon (2008)
- Lloyd Parks - Time A Go Dread
- Local Customs: Burned At Boddie 1969-1987
- Local Customs: Downriver Revival
- Lon Moshe - Love Is Where The Spirit Lies
- London Is The Place For Me 1: Trinidadian Calypso In London 1950 - 1956
- London Is The Place For Me 2: Calypso & Kwela Highlife & Jazz From Young Black London
- London Is The Place For Me 3: Ambrose Adekoya Campbell
- London Is The Place For Me 4: African Dreams And The Piccadilly High Life
- London Is The Place For Me 5: Latin Jazz Calypso & Highlife From Young Black London
- London Is The Place For Me 6: Mento Calypso Jazz & Highlife From Young Black London
- Long Live Boogaloo: 22 Rare Latin Boogaloo Circa 1963-1972
- Longing for the Past: The 78 RPM Era in Southeast Asia
- Loop Guru - Loopus Interruptus (Forgotten Treasures & Lost Artifacts)
- Lord Buckley - Bad Rapping Of The Marquis De Sade
- Lord Buckley - Blowing His Mind (And Yours Too)
- Lord Buckley - Lord Buckley In Concert
- Lord Kitchener - Klassic Kitchener Volume One
- Los Jardineros - The Best of: Classic Recordings by Puerto Rico's Legendary String Band Ensemble (1929–1932)
- Los Madrugadores 1931-1937
- Los Muñequitos De Matanzas - Cantar Maravilloso (Globe Style)
- Los Muñequitos de Matanzas - Guaguancó Matancero
- Lost Train Blues: John & Alan Lomax and the Early Folk Music Collections at the Library of Congress
- Lost Treasures of Bulgarian Music 1905-1950: Outsinging the Nightingale Box set
- Louie Ramirez - Louie's Grooves: Latin Soul Jazz & Boogaloo
- Louisiana Cajun French Music Vol. 1 & 2: Southwest Prairies 1964-1967
- Loving On The Flipside: Sweet Funk And Beat-Heavy Ballads 1969-1977
- Lubomyr Melnyk - Rivers and Streams
- Lubos Fiser - Valerie And Her Week of Wonders
- Luciano Castelli/Kiddy Citny: Mackie Messer / B-Luft (7'')
- Lucky Stars & Rosy Mornings: The 60's Ibadan Juju Scene
- Lydia Mendoza - Mal Hombre
- Macondo Revisitado: The Roots Of Subtropical Music Uruguay 1975-1979
- Madagascar - Vinelo - A Master of the maro tady
- Madagascar: Music of the Coast and Tablelands 1929-1931
- Mahlathini - King Of The Groaners
- Mahmoud Ahmed - Ethiopiques 19: Alèmyé
- Mahmoud Ahmed - Ethiopiques Vol. 6: Almaz
- Mahmoud Ahmed - Ethiopiques Vol. 7: Erè Mèla Mèla
- Man of Constant Sorrow and Other Timeless Mountain Ballads
- Manu Dibango - Soul Makossa
- Mar Seck - Vagabonde : From Super Cap-Vert to Number One: Unreleased Recordings 1969-1980
- Mariachi Coculense "Rodriguez" De Cirilo Marmolejo 1926-1936
- Mariachi Tapatio De José Marmolejo: El Autentico
- Mariachi Vargas de Tecalitlán - Mexico's Pioneer Mariachis Vol. 3: Their First Recordings 1937-47
- Marijata - This Is Marijata
- Marika Papagika - Greek Popular And Rebetic Music In New York 1918-1929
- Marisa Anderson - Mercury (Mississippi Records)
- Markos Vamvakaris - Master Of Rembetika: Complete Recordings 1932-1937 Box set
- Marvellous Boy: Calypso From West Africa
- Masters Of Old-Time Country Autoharp
- Matelo Ferret - Tziganskaïa And Other Rare Recordings 1960-1978
- Max Massengo & Le Negro-Band - 1958-2013 Réédition des Merveilles du Passé: Anthology
- Mbaraka Mwinshehe & Orchestra Super Volcano: Zanzibara 9 – Masika – A Fresh Breeze from Tanzania 1972-74
- Mbube Roots: Zulu Choral Music from South Africa 1930's-1960's
- Mbuki Mvuki: Terrestrial Hits Selected From The Catalog Of Original Music
- McIntosh County Shouters - Slave Shout Songs from the Coast of Georgia
- Melvin Jackson - Funky Skull
- Memórias de Africa: Angola/Moçambique/Guiné-Bissau/Cabo Verde/São Tomé e Príncipe
- Memphis Jug Band With Cannon's Jug Stompers Box set
- Memphis Marvels - Memphis Gospel 1927-1960 Box set
- Memphis Shakedown: More Jug Band Classics Box set
- Menhaden Chanteymen - Won't You Help Me to Raise 'Em : Authentic Net-Hauling Songs From An African American Fishery
- Mento Not Calypso! The Original Sound of Jamaica
- Meridian Brothers - Desesperanza
- Merritone Rocksteady 1966 - 1968
- Mestre Cupijó e Seu Ritmo - Siriá (The mythical sound of northern Brasil)
- Mexico - Fiestas of Chiapas & Oaxaca
- Michi Sarmiento Y Su Combo Bravo - Aqui Los Bravos! The Best Of 1967-77
- Mickey & The Soul Generation - Iron Leg: The Complete Mickey & The Soul Generation
- Midwest Funk
- Mighty Ballistcs Hi-Power - Discography
- Mighty Maytones - Madness/Boat To Zion
- Mighty Sparrow - Sparromania! Wit Wisdom & Soul From The King Of Calypso 1962-1974
- Milestone At The Garden: Irish Fiddle Masters From The 78 RPM Era
- Milton Wright - Friends And Buddies (Athens Of The North)
- Minstrel Banjo Style
- Mirror To The Soul: Caribbean Jump-Up/Mambo And Calypso Beat 1954-77
- Mississippi Blues & Gospel 1934-1942
- Mississippi Sheiks - Complete Recorded Works 1930-1936 (4-CD)
- Mississippi Sheiks - Sitting On Top Of The World
- Mississippi Sheiks - Stop And Listen
- Mississippi String Bands Vol. 1 (1928-1935)
- Mississippi String Bands Vol. 2 (1928-1930)
- Mobilisation générale : Protest & Spirit Jazz from France 1970 -1976
- Molam: Thai Country Groove From Isan Vol. 1
- Molam: Thai Country Groove From Isan Vol. 2
- Money No Be Sand - 1960's Afro-Lypso / Pidgin Highlife / Afro-Soul / Afro-Rock
- Monticello: Tough Mountain Music from Southern Kentucky
- Moonage Timequake: 50s America In Fear Of Interplanetary Interference
- Moondog - The Viking of Sixth Avenue
- Mor Thiam - Dini Safarrar (2016)
- More From the Other Side of the Trax: Stax-Volt 45rpm Rarities 1960-1968
- Mortika - Rare vintage recordings from a Greek underworld
- Mountain Blues: Blues Ballads & String Bands 1927-1938 Box set
- Mountain Echo - Jew's Harps Around the World
- Mountain Gospel: The Sacred Roots of Country Music Box Set
- Mountain Music of Kentucky
- Moussa Doumbia - Keleya
- Mozambique 2 (Globestyle)
- Mozambique One (Globestyle)
- Mulatu Astatke - Ethiopiques vol. 4: Ethio Jazz & Musique Instrumentale 1969-1974
- Mulatu Astatke - Mulatu Of Ethiopia (2017)
- Mulatu Astatke - New York-Addis-London: The Story of Ethio Jazz 1965-1975
- Murder - Songs From The Dark Side Of The Soul
- Music From The Lost Provinces: Old-Time Stringbands From Ashe County North Carolina & Vicinity 1927-1931
- Music From The Mountain Provinces
- Music From The Ozarks (Folkways)
- Music of Indonesia Vol. 20 - Indonesian Guitars
- Music Of Macedonia: Playing 'til Your Soul Comes Out
- Music of Makran: Traditional Fusion from Coastal Balochistan
- Music of Martinique 1929-1950
- Music of Tanzania by Laurent Jeanneau
- Musique du Nordeste Vol. 1: 1916-1945
- Mustafa Özkent - Gençlik Ile Elele
- Muyei Power - Sierra Leone In 1970s USA
- My Friend Rain (Robert Millis)
- My Only Consolation: Classic Pireotic Rembetica 1932-1946
- My Rough and Rowdy Ways: Early American Rural Music - Badman Ballads and Hellraising Songs Vol. 1
- My Rough and Rowdy Ways: Early American Rural Music - Badman Ballads and Hellraising Songs Vol. 2
- Mystic Eyes (Mystic I) - Mysterious
- Naftule Brandwein - King Of The Klezmer Clarinet
- Nancy Dupree - Ghetto Reality (1969)
- Nara Leão - Dez Anos Depois (1971/Reissue 2009)
- Narmour & Smith - Volume 1: Complete Recorded Works (1928-1930)
- Narmour & Smith - Volume 2: Complete Recorded Works (1930-1934)
- Nathan Abshire & the Pinegrove Boys - French Blues
- Natural Funk Killas (Soul Patrol Records)
- Ndikho Xaba And The Natives
- Negro Aquilino - El Saxofon Humano
- Negro Folk Music Of Alabama Vol. 1 - 6
- Negro Folklore from Texas State Prisons LP
- Negro Prison Camp Worksongs (Folkways)
- Negro Religious Field Recordings Vol. 1 (1934-1942)
- Negro Religious Field Recordings Vol. 2 (c.1924-1941)
- Negro Religious Songs And Services [Alan Lomax]
- Negro Work Songs & Calls [Alan Lomax]
- Never A Pal Like Mother: Vintage Songs & Photographs Of the One Who's Always True
- Neville Marcano - The Growling Tiger of Calypso from The Alan Lomax Collection
- Next Stop... Soweto Vol. 1: Township Sounds From The Golden Age Of Mbaqanga
- Next Stop... Soweto Vol. 2: Soul Funk & Organ Grooves From The Townships 1969-1976
- Next Stop... Soweto Vol. 3: Giants Ministers And Makers: Jazz In South Africa 1963-1978
- Ngoma: Souvenir ya l'indépendence
- Nico Gomez His Afro Percussion Inc - Ritual (CD / Mr. Bongo)
- Nigeria 70: Lagos Jump - Original Heavyweight Afrobeat Highlife & Afro-Funk
- Nigeria 70: Sweet Times - Afro Funk Highlife and Juju from 1970s Lagos
- Nigeria 70: The Definitive Story of 1970s Funky Lagos
- Nigeria Afrobeat Special: The New Explosive Sound in 1970s Nigeria
- Nigeria Disco Funk Special: Sound of the Underground Lagos Dancefloor 1974-79
- Nigeria Freedom Sounds! Popular Music & The Birth Of Independent Nigeria 1960-63
- Nigeria Rock Special: Psychedelic Afro-Rock And Fuzz Funk In 1970s Nigeria
- Nigeria Soul Fever - Afro Funk Disco And Boogie: West African Disco Mayhem!
- Nigeria Special: Modern Highlife Afro Sounds & Nigerian Blues 1970-6
- Nigeria Special: Volume 2 - Modern Highlife Afro Sounds & Nigerian Blues 1970-6
- Nkengas - Destruction
- Norteño and Tejano Accordian Pioneers: Texas-Mexican Border Music Vol. 3
- Northern And Central Malawi: Nyasaland 1950 '57 '58
- Northumberland Rant: Traditional Music from the Edge of England
- Norway: Traditional Music 1920 - 1999 / NORGE - Tradisjonell Musikk - Opptak frå 1920 - 1999
- Nostalgique Egypte: Chansons d'amour de charme et improvisations 1925-1960
- Nostalgique Vietnam: Chansons 1937-1954
- Nu Yorica Roots!: The Rise of Latin Music in New York City in the 1960's
- Nyboma - Orchestre Lipua-Lipua - Mombassa
- Octa Clark & Hector Duhon - Old Time Cajun Music
- Odetta - My Eyes Have Seen Plus The Tin Angel/At the Gate Of Horn
- Oh Graveyard; You Can't Hold Me Always (Mississippi Records)
- Ohio Penitentiary 511 Ensemble - Hard Luck Soul
- Ola Belle Reed - Rising Sun Melodies
- Old Time Fiddle Band Music From Kentucky Vol. 1 - 3
- Old Time Mountain Banjo
- Old Time Texas String Bands Vol. 1: Texas Farewell
- Old-Time Mountain Guitar: Vintage Recordings 1926-1931
- Omar Khorshid: Guitar El Chark (Guitar of the Orient)
- On A Coconut Island - Music Of Hawaii
- On The Beach At Waikiki 1914-1952
- On The Edge Of The Ituri Forest: Northeastern Belgian Congo 1952
- Opika Pende - Africa at 78 rpm
- Orchestra Baobab - Bamba
- Orchestra Baobab - La Belle Époque: Volume 2 (1973-1976)
- Orchestra Ethiopia - Ethiopiques 23 (1963-1975)
- Orchestra Makassy - Legends of East Africa: The Original Recordings
- Orchestra Super Mazembe - Giants of East Africa
- Orchestra Super Mazembe - Mazembe @ 45 RPM Vol. 1
- Orchestre De La Paillotte - Keletigui Traore - Volume 1 1960
- Orchestre Du Jardin De Guinee - Jardin De Guinee
- Orchestre Poly-Rythmo De Cotonou
- Orchestre Régional De Kayes - The Best Of The First Biennale Of Arts And Culture For The Young (1970)
- Orchestre Vévé - Vintage Verckys
- Original Music
- Origins of Guitar Music: Southern Congo and Northern Zambia 1950 '51 '52 '57 '58
- Orkney - Traditional dance music from Orkney
- Orlando Julius - Super Afro Soul (Bonus Tracks)
- Orlando Julius & His Afro Sounders - Orlando's Afro Ideas 1969-72
- Orquesta Riverside De Pedro Vila - Baracoa: 1953-1954
- Orquestas De Cuerdas - The String Bands 1926-1938
- Orquestas Tipicas - The First Recordings 1926-1938
- Oscar “Papa” Celestin’s Tuxedo Jazz Band – 1950’s Radio Broadcasts
- Oscar Alemán - Swing Guitar Masterpieces 1938-1957
- Osvaldo Pugliese - in the 1940s
- Oté Maloya - The Birth Of Electric Maloya On La Réunion 1975-1986
- Othar Turner & The Rising Star Fife and Drum Band - Everybody Hollerin' Goat
- Other Musics From Zimbabwe: Southern Rhodesia 1948 '49 '51 '57 '58 '63
- Otim Alpha - Gulu City Anthems
- Ouaga Affair: Hard Won Sound Of The Upper Volta 1974-1978
- Ouelele - Another Collection Of Modern Afro Rhythms
- Outro Tempo: Electronic And Contemporary Music From Brazil 1978-1992
- Owen Marshall - The Naked Truth
- Owiny Sigoma Band - Nyanza
- Owiny Sigoma Band - Owiny Sigoma Band
- Owiny Sigoma Band - Power Punch!!!
- Ozark Folksongs
- P.E. Hewitt Jazz Ensemble - Winter Winds: The Complete Works 1968-70
- Pablo Gad - Blood Suckers (Remastered)
- Pablo Gad - Hard Times (+ Extras)
- Pablo Gad - The Best Of Pablo Gad
- Pablo Gad - Trafalgar Square
- Page One - Rock A Dub
- Pakistan: Folk and Pop Instrumentals 1966-1976
- Palenque Palenque: Champeta Criolla & Afro Roots in Colombia 1975-91
- Pamelo Mounk'a - No.1 Africain
- Pamelo Mounk'a - Pamelo Mounk'a
- Pamelo Mounk'a - Samantha
- Pamelo Mounk'a avec Les Bantous
- Panama! 1: Latin Calypso and Funk On the Isthmus 1960-77
- Panama! 2: Latin Sounds Cumbia Tropical & Calypso Funk on the Isthmus 1967-77
- Panama! 3: Calypso Panameño Guajira Jazz & Cumbia Típica On The Isthmus 1960-1975
- Paramount Jazz Box set
- Paramount Old Time Recordings Box set
- Parchman Farm: Photographs and Field Recordings 1947–1959
- Paris - Plages d'Hawaii: Guitares Hawaiiennes 1930
- Pascal Comelade - Danses Et Chants De Syldavie
- Past Masters Of Irish Dance Music (Topic)
- Pat Thomas - Coming Home: Original Ghanaian Highlife & Afrobeat Classics 1967-1981
- Pat Thomas & Ebo Taylor - Sweeter Than Honey; Calypso 'Mahuno' & High Lifes Celebration
- Patchwork Europe - Early Recordings 1911-1954
- Paul F. Berliner - Zimbabwe (The Soul Of Mbira)
- Pax Nicholas and the Nettey Family - Na Teef Know de Road of Teef
- Peace Chant - Raw Deep & Spiritual Jazz Vol. 1&2
- People Take Warning! Murder Ballads & Disaster Songs 1913-1938
- Peregoyo y Su Combo Vacaná - Tropicalisimo
- Persian Funk (Secret Stash)
- Peru Bravo: Funk Soul & Psych from Peru's Radical Decade
- Peru Maravilloso: Vintage Latin Tropical and Cumbia
- Peruvian Funk (Secret Stash)
- Philip Cohran And The Artistic Heritage Ensemble - Singles
- Pietre Preziose E Oro Fino - Old Music & Folk Songs from South Italia
- Pomegranates - Persian Pop/Funk/Folk And Psych Of The 60s And 70s
- Pop Makossa - The Invasive Dance Beat of Cameroon 1976-1984
- Pop Yeh Yeh: Psychedelic Rock From Singapore And Malaysia 1964-1970 Vol. 1
- Popular Music - Ghana 1931-1957 (From Palm Wine Music to Dance Band Highlife)
- Portuguese String Music 1908-1931
- Powerhouse Gospel On Independent Labels 1946-1959
- Praise Poems Vol. 1: A Journey Into Deep Soulful Jazz & Funk From The 1970s
- Praise Poems Vol. 2: A Journey Into Deep Soulful Jazz & Funk From The 1970s
- Praise Poems Vol. 3: A Journey Into Deep Soulful Jazz & Funk From The 1970s
- Praise Poems Vol. 4: A Journey Into Deep Soulful Jazz & Funk From The 1970s
- Praise Poems Vol. 5: A Journey Into Deep Soulful Jazz & Funk From The 1970s
- Prayers From Hell: White Gospel & Sinner's Blues 1927-1940
- Prince Alla - Songs From The Royal Throne Room (Kingston Sounds)
- Prince Alla & Junior Ross - I Can Hear The Children Singing 1975-1978
- Prince Buster - What A Hard Man Fe Dead
- Prince Far I - Black Man Land (Bonus Tracks)
- Prince Jazzbo - Kick Boy Face: DJ Galore
- Prison Songs Vol. 1: Murderous Home - Alan Lomax Collection
- Prison Songs Vol. 2: Don'tcha Hear Poor Mother Calling? - Alan Lomax Collection
- Psych-Funk 101: 1968-1975 A Global Psychedelic Funk Curriculum
- Puerto Rico in Polynesia: Jibaro Traditional Music on Hawaiian Plantations
- Pure Records : Tighten Up Tighter: A Choice Collection Of Funk 45's (1967-1973)
- Qat Coffee & Qambus: Raw 45s from Yemen
- Racubah! - A Collection Of Modern Afro Rhythms
- Ragtime Blues Guitar 1927 - 1930
- Rahsaan Roland Kirk - Natural Black Inventions: Root Strata
- Rail Band - Belle Epoque Vol. 1: Soundiata
- Rail Band - Belle Epoque Vol. 2: Mansa
- Rail Band - Belle Epoque Vol. 3: Dioba
- Rail Band - Buffet Hotel De La Gare (1973/2011)
- Rain in the Hills: Beja Ballads of Port Sudan
- Rangarang - Pre-Revolutionary Iranian Pop
- Rastafari: The Dreads Enter Babylon 1955-83
- Raul “El Ruco” Martinez - Dueto Alegre
- Raw Fiddle
- Ray Frazier And The Shades Of Madness - st
- Re/Search: Incredibly Strange Music Vol. 1
- Re/Search: Incredibly Strange Music Vol. 2
- Red Fox Chasers - I'm Going Down to North Carolina: The Complete Recordings of the Red Fox Chasers (1928-31)
- Reggae And Dub XL
- Rembetica In Piraeus 1933-1937
- Rembetica in Piraeus Vol. 2 (1933-1937)
- Rembetica: Historic Urban Folk Songs From Greece
- Rembetika - Greek Music From The Underground Box Set
- Rembetika 2: More of the Secret History of Greece's Underground Music Box set
- Remmy Ongala & Orchestre Super Matimila - Nalilia Mwana
- Rev Kelsey And His Congregation 1947 - 1951
- Rev. Johnny L. Jones - The Hurricane That Hit Atlanta
- Rev. Louis Overstreet - His Guitar / His Four Sons / And The Congregation Of St. Luke Powerhouse Church Of God In Christ
- Rev. Utah Smith & Rev. Lonnie Farris - Slide Guitar Gospel (1944-1964)
- Rhythm Of The Islands - Music Of Hawaii 1913-1952
- Richard Marks - Never Satisfied: The Complete Works 1968-1976
- Richard Youngs - Sapphie
- Rico - Jama Rico (Vinyl)
- Rico - Man From Wareika / Wareika Dub (2016)
- Rico - That man Is Forward (Reissue 1998)
- Rico - Trombone Man: Anthology 1961-1971
- Riley Puckett - 1929-1931
- Riley Puckett - 1934
- Riley Puckett - Country Music Pioneer Box set
- Roady Music from Vietnam - Ho! #1
- Rob - Funky Rob Way
- Roberto Musci - Tower Of Silence
- Roberto Musci & Giovanni Venosta - Messages & Portraits
- Roger Damawuzan & Les As Du Bénin - Wait For Me
- Roland P. Young - Isophonic Boogie Woogie
- Roots of OK Jazz: Congo Classics 1955-1956
- Roscoe Holcomb - An Untamed Sense of Control
- Roscoe Holcomb - San Diego State Folk Festival 1972
- Roscoe Holcomb - The High Lonesome Sound
- Royal Court Music From Uganda 1950 & 1952
- Royals Jesters - English Oldies
- Róza Eskenázi - Rembetissa 1933-1936
- Rub-A-Dub Soldiers: Rare Heavyweight Rub-A-Dub Deejay Tracks
- S.E. Rogie - Palm Wine Guitar Music (The 60's Sound)
- Saba Saba! Mozambique
- Sabu Martinez - Afro Temple 1973 (Vinyl)
- Sabu Martinez - Safari With Sabu (2012)
- Sabu Martinez - Sourcery! (2012)
- Sacred Harp and Shape Note Singing: 1922-1950s
- Sadaba - Gibble Gobble - Exotic Blues and Rhythm Volume 5 and 6 CD
- Sady Courville & Dennis McGee - La Vielle Musique Acadienne
- Sahara All Stars Of Jos
- Saigon Rock & Soul: Vietnamese Classic Tracks 1968-1974
- Saigon Supersound Volume One 1965-1975
- Salif Keita and Kante Manfila - The Lost Album
- Sam Collins - Complete Recorded Works (1927-1931)
- Sam Manning Vol. 1 - Recorded In New York 1924-1927
- Sam Manning Vol. 2 - Recorded In New York 1927-1930
- Sam Sanders - Mirror Mirror
- Samba: Batuque - Partido Alto - Samba-Canção 1917-1947
- Saoco! The Bomba And Plena Explosion In Puerto Rico 1954-1966
- Saoco! Vol. 2: Bomba Plena & The Roots of Salsa In Puerto Rico 1955-1967
- Sarah Louise - VDSQ Acoustic Series Volume 12
- Sarathy Korwar - Day to Day
- Saved and Sanctified: Songs of the Jade Label
- Searching for Soul: Soul Funk & Jazz Rarities from Michigan 1968-1980
- Secular Music from Uganda 1950 & 1952
- Segun Bucknor - Who Say I Tire
- Senegal 70 - Sonic Gems & Previously Unreleased Recordings from the 70's
- Serenade In The Mountains: Early Old Time Music On Record
- Serge Gainsbourg - Les Annees Psychedeliques: 1966 - 1971
- Sexteto Electronico Moderno - Sounds from the Elegant World
- Sexteto Habanero 1926-1931
- Sexteto Nacional - Cubaneo 1927-1928
- Sexteto Y Septeto Habanero - Grabaciones Completas 1925-1931 Vol. 1 - 4
- Sextetos Cubanos Vol. 1 - Sones 1930
- Sextetos Cubanos Vol. 2 - Sones 1926-1928
- Shalawambe - Samora Machel
- Shango Dance Band
- Shango Shouter & Obeah: Supernatural Calypso from Trinidad 1934-1940
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- Sofrito: International Soundclash
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- Southern Journey Vol. 10: And Glory Shone Around
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- Southern Journey Vol. 12: Georgia Sea Islands: Biblical Songs and Spirituals
- Southern Journey Vol. 13: Georgia Sea Islands: Earliest Times
- Southern Journey Vol. 2: Ballads and Breakdowns
- Southern Journey Vol. 3: 61 Highway Mississippi
- Southern Journey Vol. 4: Brethren We Meet Again
- Southern Journey Vol. 5: Bad Man Ballads: Songs of Outlaws and Desperadoes
- Southern Journey Vol. 6: Sheep
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- Spiritual Jazz Vol. 2: Europe - Esoteric Modal & Deep Jazz From The European Underground 1960-78
- Spiritual Jazz Vol. 3: Modal Esoteric and Ethereal Jazz from the European Underground 1963-1972
- Spiritual Jazz Vol. 4 - Americans in Europe: Modal Esoteric & Progressive Jazz 1963-1979
- Spiritual Jazz Vol. 5: Esoteric Modal and Deep Jazz From Around the World 1961-79
- Spiritual Jazz Vol. 6: Vocals - Modal Esoteric & Progressive Jazz Vocals from Around the World 1960-1986
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- Texas Alexander & His Circle 1927-1951 Box set
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- The Soulful Side Of GME & Musette Records
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- The Sound Of Wonder!: The First Wave Of Plugged-In Pop At The Pakistani Picture House
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- The Staple Singers - Four Classic Albums Plus Singles
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- Tito Puente - The Complete 78s Vol. 2
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- Trojan Dub Rarities Box Set
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