All Categories — All Formats  

A record with a really timeless feel, and a great mix of classic and contemporary – rootsy Ghanaian instrumentation, modern production, and just a touch of electronics – all wrapped up in a mix that's mighty nice – and one that's a lot more earthy than you might expect! Bola's not exactly in Konono territory, but his approach isn't that far off, either – as there's a core element to the music that relies strongly on older traditions – and an execution that just makes slight use of contemporary electronics – often used very sparely, just to underscore the key aspects of the music – in ways that almost make the acoustic elements sound even more fragile and crisp! The set's hardly a remix-type project, and has a gritty appeal that goes way beyond any of the too-sweetly recorded sessions of recent years – almost more in an Analogue Africa mode overall. Titles include "Yine Mmema", "Abayetidu Ma", "Hoyenbesa Nini", "Makamiba", and "Burilbunbol Suma".

An early recording by the great Malian singer Na Hawa Doumbia – made in Abidjan, Ivory Coast in 1982 – which finds her backed by guitar, keyboards and raw drums that starkly frame her voice in a great way! It's that voice that really carries this recording – it's piercing, emotional and beautiful – and the raw accompaniment serves her really well. The set has 4 long, hypnotic songs: titles include "Ko Ro Dia (A Mamaye Drame L'Inoubliable)", "Dan Te Dinye La", "Sanaya (A Sidi Konate Pour Tourjours)" and "Kungo Sogoni".

Somali sounds from the late 80s – a wonderful set of grooves from the Dur Dur Band – originally issued only on cassette, and lovingly restored here on some more enduring formats! The style is pretty darn funky – maybe some of the latest Afro Funk grooves we've heard from the scene – much more in the spirit of some of the best 70s funk recordings from Ghana or Nigeria, but with a flavor that's more 80s-inspired overall! There's also some cool Eastern touches running through the mix – a key indication of the cultural and political shifts happening in Mogadishu at the time, and which would only be more evident in later years – perhaps telegraphed here in a trans-gulf groove that's mighty nice. Titles include "Fagfagley", "Hayeelin", "Garsore Waa Ilaah", "Dooyo", and "Amiina Awdaay".

An early recording by Malian singer Na Hawa Doumbia – made in Abidjan, Ivory Coast in 1982 – which finds her backed by guitar, keyboards and raw drums that starkly frame her voice in a great way! It's that voice that really carries this recording – it's piercing, emotional and beautiful – and the raw accompaniment serves her really well. The set has 4 long, hypnotic songs: titles include "Ko Ro Dia (A Mamaye Drame L'Inoubliable)", "Dan Te Dinye La", "Sanaya (A Sidi Konate Pour Tourjours)" and "Kungo Sogoni".

Somali sounds from the late 80s – a wonderful set of grooves from the Dur Dur Band – originally issued only on cassette, and lovingly restored here on some more enduring formats! The style is pretty darn funky – maybe some of the latest Afro Funk grooves we've heard from the scene – much more in the spirit of some of the best 70s funk recordings from Ghana or Nigeria, but with a flavor that's more 80s-inspired overall! There's also some cool Eastern touches running through the mix – a key indication of the cultural and political shifts happening in Mogadishu at the time, and which would only be more evident in later years – perhaps telegraphed here in a trans-gulf groove that's mighty nice. Titles include "Fagfagley", "Hayeelin", "Garsore Waa Ilaah", "Dooyo", and "Amiina Awdaay".

A record with a really timeless feel, and a great mix of classic and contemporary – rootsy Ghanaian instrumentation, modern production, and just a touch of electronics – all wrapped up in a mix that's mighty nice – and one that's a lot more earthy than you might expect! Bola's not exactly in Konono territory, but his approach isn't that far off, either – as there's a core element to the music that relies strongly on older traditions – and an execution that just makes slight use of contemporary electronics – often used very sparely, just to underscore the key aspects of the music – in ways that almost make the acoustic elements sound even more fragile and crisp! The set's hardly a remix-type project, and has a gritty appeal that goes way beyond any of the too-sweetly recorded sessions of recent years – almost more in an Analogue Africa mode overall. Titles include "Yine Mmema", "Abayetidu Ma", "Hoyenbesa Nini", "Makamiba", and "Burilbunbol Suma".