- Limited Edition - Numbered - Transparent Clear Vinyl

- Limited Edition

limited Edittion

- 35th Anniversary Edition- Tranlucent Red Coloured Vinyl- 180 Gram Audiophile Vinyl- Limited Individually Numbered Edition (1000)

Sharhabil was born in 1935 and he is the founding father of the Sudanese Jazz scene. His aim was to modernize Sudanese music by bringing it together with western influences and instrumentation like he summarized it himself in a 2004 interview for "Al Ahram Weekly": "[...]Haqiba music, you know, was traditional vocal music with little accompaniment beyond a tambourine. When our generation came in the 1960s, we came with a new style. It was a time of worldwide revolution in music. In Europe, the rhythms of swing and tango were being replaced by jazz, samba, rock- and-roll. We were influenced by this rejuvenation in Sudan, too. I started out by learning to play the oud and traditional Sudanese music, and got a diploma from the music institute of Khartoum University. But my ambition was to develop something new. For this, the guitar seemed like the best instrument. Western instruments can approximate the scales of Sudanese music very well. After all, a lot of Western music is originally from Africa. I have absorbed different influences, from traditional Sudanese rhythms to calypso and jazz, and I hold them together in my music with no difficulty." Referring to it's sonic apperance, Sudanese Jazz hasn't too much in common with the western idea of Jazz. Sharhabil's sound feels more like a unique combination of surf, rock n roll, funk, Congolese music and East African harmonies a.o. So it kind of made sense to me, while visiting him in Sudan, to see the records he kept over the years: 2 of his own and 2 by Mulatu Astatke signed to him, further proving the influence of Ethiopian and other neighboring countries. In fact, Sharhabil was not just one of many Sudanese Jazz artist. He is the king of Jazz, literally, since in he won a competion over other artists for that title. The release comes with a booklet including liner notes, interview and unseen photos (12 pages vinyl). Fully licensed from the artist.

 

Charlie Hunters 1995er Blue Note-Debüt „Bing Bing Bing!“ war eine groovende Tour-de-Force, die Ankunft eines virtuosen Gitarristen, der auf seiner 8-saitigen Gitarre eine Musik hervorbrachte, die beeindruckend und unbändig war. Hunters Trio legte hier ein Programm mit Eigenkompositionen und einem unvergesslichen Cover von Nirvanas „Come As You Are“ vor.  

Jetzt erhältlich auf schwarzem Standard-Vinyl: Das neue Album der fünfköpfigen Bristoler Band, ihr insgesamt viertes in nur vier Jahren, koproduziert von Kenny Beats (Vince Staples, slowthai, Freddie Gibbs) und IDLES-Gitarrist Mark Bowen. Crawler stieg in der VÖ-Woche auf Platz 15 der offiziellen deutschen Albumcharts ein.Auf "CRAWLER" erzählt die Band mit ihrem Post-Punk-Vokabular lebendige Geschichten von u.a. Trauma, Sucht und Genesung, wobei sich der Sound von elektronischem Minimalismus bis hin zu brachialem Brüllen und wuchtigem Stampfen erstreckt, den Sänger Joe Talbot mit gesungenem Zynismus und gesprochenen Parolen ergänzt.Der Fan darf sich auf 14 Songs freuen, mit denen die Band auch aufregendes Neuland betritt, so stellt Sänger Joe Talbot auf Vorabsingle "The Beachland Ballroom" - einem ehrlichen Soul-Song, der sich zunehmend immer mehr entlädt - u.a. eindrucksvoll seine Gesangskünste unter Beweis.

This stunning, limited-edition picture disc features the alternate "original" track-listing and sequencing and includes three tracks not included on the original album: "I Burn for You," "Once Upon a Daydream" and "Shambelle." Four tracks, "Spirits in the Material World," "Rehumanize Yourself," "One World (Not Three)" and "Hungry for You," all include drummer Stewart Copeland counting in on the tracks. Ghost In The Machine includes the hits "Every Little Thing She Does Is Magic" and "Invisible Sun."

Repressed! How Zambia’s Liberation Led To A Rock Revolution. 1972-1977By the mid-1970s, the Southern African nation known as the Republic of Zambia had fallen on hard times. Though thecountry’s first president Kenneth Kaunda had thrown off the yoke of British colonialism, the new federation found itselfunder his self-imposed, autocratic rule. Conflict loomed on all sides of this landlocked nation. Kaunda protected Zambiafrom war, but his country descended into isolation and poverty.This is the environment in which the ’70s rock revolution that has come to be known as Zamrock flourished. Fuzz guitarswere commonplace, as were driving rhythms as influenced by James Brown’s funk as Jimi Hendrix’s rock predominated.Musical themes, mainly sung in the country’s constitutional language, English, were often bleak.In present day Zambia, Zamrock markers were few. Only a small number of the original Zamrock godfathers that remainedin the country survived through the late ’90s. AIDS decimated this country, and uncontrollable inflation forced the Zambianrockers that could afford to flee into something resembling exile. This was not a likely scene to survive - but it did. WelcomeTo Zamrock!, presented in two volumes, is an overview of its most beloved ensembles, and a trace of its arc from itsascension, to its fall, to its resurgence.

Repress / The Western world was in the throes of peace, love and flower power as Nigeria descended into Civil War in 1967. The rock scene that developed during the following three years of bloodshed and destruction would come to heal the country, propagate the world-wide ideal of the Modern Nigerian, and propel Fela Kuti to stardom after the conflict ended in 1970. Wake Up You! tells the story of this time, pays homage to these now-forgotten musicians and their struggle, and brings to light the funk and psychedelic fury they created as they wrested free of the ravages of the late 1960s and created thrilling, original Nigerian rock music throughout the 1970s.

Contains Dowload Card For Wave Files Indonesian Hard, Psychedelic, Progressive Rock and Funk: 1970-1978The untold story of indonesia’s various underground 70s musical scenes; extensive liner notes,photographs and ephemera; fully restored and remastered audio; officially licensed.The progressive music scenes in 1970s Indonesia were largely underground as a result of strict censorship imposed by thedictator Suharto. Those who performed music marked by relentless fuzz, over the top, politically charged lyrics, strongrhythms and a cranky low-fidelity were truly rebellious. And the resulting output has been largely – outside of the confinesof this island nation – unheard or ignored. Indonesia, based in large part on the restrictions imposed by Suharto, is betterknown for the coffee it exports than the music it creates. This situation hasn’t been remedied by the rough-hewn Indonesianbootlegs that dotted the psychedelic landscape over the past five years.Thanks now to the tireless – and expensive – research of Canadian hip hop producer and Southeast Asian music specialistJason “Moss” Connoy - and the trust that Indonesian rock legend Benny Soebardja placed in Now-Again Records as hetraversed his homeland’s islands securing the rights necessary for us to offer you this anthology - we feel like we can,in good spirits and conscience, shine the light on some of the most impressive organizations to offer their take on thepsychedelic and progressive rock and funk sounds during the early shocking, shaking days of Suharto’s regime.

By the mid-1970s, the Southern African nation known as the Republic of Zambia had fallen on hard times. Though thecountry’s first president Kenneth Kaunda had thrown off the yoke of British colonialism, the new federation found itselfunder his self-imposed, autocratic rule. Conflict loomed on all sides of this landlocked nation. Kaunda protected Zambiafrom war, but his country descended into isolation and poverty.This is the environment in which the ’70s rock revolution that has come to be known as Zamrock flourished. Fuzz guitarswere commonplace, as were driving rhythms as influenced by James Brown’s funk as Jimi Hendrix’s rock predominated.Musical themes, mainly sung in the country’s constitutional language, English, were often bleak.In present day Zambia, Zamrock markers were few. Only a small number of the original Zamrock godfathers that remainedin the country survived through the late ’90s. AIDS decimated this country, and uncontrollable inflation forced the Zambianrockers that could afford to flee into something resembling exile. This was not a likely scene to survive - but it did. WelcomeTo Zamrock!, presented in two volumes, is an overview of its most beloved ensembles, and a trace of its arc from itsascension, to its fall, to its resurgence.