Brazilian holy grail

A masterpiece of Brazilian jazz samba, it’s a record that has gained cult status in the last twenty years, whispered first in hip-hip circles, before infiltrating a wider musical consciousness, enchanted by Verocai’s shimmering compositions and the equally legendary value of the original Continental pressing, which has famously sold for upwards of £2,000 on Discogs. The 29 minute masterpiece, perfect in it's arrangement and fusion of sonics, epitomizes the sound of Brazil at the time; strings, guitars, pianos, break beats, bass-lines, synthesizers, vocals from the wonderful Célia and percussion from Pedro Santos. Bossa nova, samba, jazz, MPB, psychedelics and funk sit side by side effortlessly. The album transcends the genre of Brazilian music, and in fact all genres.

In 1972 a repressive Brazilian military dictatorship frowned on artistic impression that might influence the youth of the country. However, producer, arranger and guitar player Arthur Verocai released a self-titled album on Brazilian based Continental Records that challenged the musical conventions of the day. His subtle protest experimented with new musical directions, and used figurative language to sneak under the censorship radar. In 2003 Luv N'Haight records re-issued this rare release, which subsequently went out of print. Now in 2010 the name of Arthur Verocai is beginning to get wider recognition, and the album has been once again re-issued.

Verocai will appeal to fans of the folksy soul and lo-fi electronic experimentations of American artists like Shuggie Otis or the orchestration of producer Charles Stepney. Closest Brazilian comparisons would be to Tim Maia and Jorge Ben. This unique recording has a touch of folk, more than a hint of funk, jazz style soloing, amazing 20 piece string arrangements, blending of electronics and keyboards with organic sounds, and superb soundtrack style music. ''I used to listen to Blood Sweat and Tears, Chicago, Stan Kenton, Wes Montgomery, Jimmy Web, Frank Zappa, Herbie Hancock, Bill Evans and Miles Davis, Milton Nascimento, Bossa Nova, among others,'' explains Arthur Verocai. ''In Brazil we had many musical influences, and by that time there wasn't a hegemonic one in the market. In this way my album reflected a search and musical experimentation. I was in an adventurous mood on this album and that led me to explore new melodic, harmonic and rhythmic paths.''

AllMusic Review by Jason Ankeny
Arthur Verocai's long-lost solo LP straddles the continents to fuse Brazilian tropicalia with American funk, yielding a shimmering, dreamlike mosaic of sound that both celebrates and advances the creative spirit. Employing a dizzyingly lush 20-piece string section, stiletto-sharp bursts of brass, and electric piano melodies that twinkle like stars, Verocai's heady productions draw on folk, jazz, and pop traditions from both sides of the equator to make music that is both immediately familiar and quite unlike anything else you've ever experienced. While its sun-kissed arrangements and insistent rhythms clearly evoke its Brazilian origins, Arthur Verocai nevertheless seems to exist somewhere far outside of space and time.

“I could listen to the album everyday for the rest of my life” – Madlib.

In 1972 a repressive Brazilian military dictatorship frowned on artistic impression that might influence the youth of the country. However, producer, arranger and guitar player Verocai recorded and released a self-titled album on Brazilian-based Continental that challenged the musical conventions of the day. His subtle protest experimented with new musical directions, and used figurative language to sneak under the censorship radar.

Before his solo album, Verocai had produced the Ivan Lins 1971 album Agora, influenced heavily by the sound of North American soul, and had contributed string arrangements to Jorge Ben releases.

He says, “I also produced two albums by a singer named Célia for Continental and the president of the company was delighted with the results. He invited me to produce an album using my own compositions and I agreed as long as I was able to choose the musicians to perform with me. All the strings sessions featured 12 violins, 4 violas and 4 cellos, always with one or two percussionists. The idea of mixing strings with contemporary sounds came from my desire of searching for new paths. I think this album was very rich in terms of both quantity and quality of musicians.”

Musicians included Brazilian legends like Robertinho Silva, Pascoal Meireles, Luiz Alves, Paulo Moura, Edson Maciel, Oberdan Magalhães (Banda Black Rio), Nivaldo Ornelas (Milton Nascimento band) and Toninho Horta.

Arthur Verocai was born in Rio de Janeiro, Brazil on 17/6/1945. In 1966 Leny Andrade included his song “Olhando o Mar” (“Looking at the Sea”) on her We Are There album. Two years later Verocai participated in Musicanossa an event that brought together composers, musicians and singers in presentations to play live in the Santa Rosa Theater in Rio de Janeiro, for which he wrote his first arrangements.

By 1968 his main gig was working in Civil Engineering in Rio de Janeiro. He still managed to perform and participate as a composer at many of Brazils famous Festivals of Music. In 1969 Verocai began his professional career as musician and arranger. He scored the music for the theater show Is The Greater, and wrote his first arrangements for orchestra. He arranged records by Jorge Benjor, Elizeth Cardoso, Gal Costa, Quarteto em Cy, MPB 4, Célia, Guilherme Lamounier, Marcos Valle, and others. His music also appeared in the musical The Life of Braguinha, alongside Elizeth Cardoso, Quarteto em Cy, MPB4 and Sidney Magal. By 1970 he was writing for other groups and regularly composing music for multiple TV shows and incidental music for TV series.

1. Caboclo 2:52
2. Pelas Sombras 2:16
3. Sylvia 3:02
4. Presente Grego 2:32
5. Dedicada a Ela 3:33
6. Seriado 1:45
7. Na Boca Do Sol 2:54
8. Velho Parente 2:20
9. O Mapa 2:42
10. Karina (Domingo No Grajau) 5:16


The De Lucía brothers were "Los Chiquitos de Algeciras" in that first part of their artistic career in the 1960's, making numerous recordings for the Hispavox label.

If the appearance in 1963 of the album 'Los Chiquitos de Algeciras' was a pleasant surprise received with enthusiasm by all the flamenco critics, we thought that no less should happen with its reissue today. This is the first recordings of Pepe (great cantaor) and Paco de Lucía (genius of the guitar). Absolute respect for tradition and tribute to their elders (Chacón, El Mellizo ...) are reflected in each and every one of the 12 songs on the album, which are interpreted impeccably.

Paco de Lucía was to the flamenco guitar what Segovia was to the classical guitar, Ravi Shankar to the sitar and Yehudi Menuhin to the violin, the undisputed maestro of his instrument whose virtuoso playing created the yardstick by which all others were judged.

Paco de Lucia was born Francisco Gustavo Sánchez Gomes on December 21, 1947 in Algeciras, Southern Spain. He was the youngest of the five children of flamenco guitarist Antonio Sánchez Pecino and Portuguese mother Lúcia Gomes; his brothers include flamenco singer Pepe de Lucía and flamenco guitarist Ramón de Algeciras (deceased).

Playing in the streets as a young boy, there were many Pacos and Pablos in Algeciras, and as he wanted to honor his Portuguese mother Lucia Gomes, he adopted the stage name Paco de Lucía. In 1958, at age 11, Paco made his first public appearance on Radio Algeciras.

His father Antonio received guitar lessons from the hand of a cousin of Melchor de Marchena: Manuel Fernández (aka Titi de Marchena), a guitarist who arrived in Algeciras in the 1920s and established a school there. Antonio introduced Paco to the guitar at a young age and was extremely strict in his upbringing from the age of 5, forcing him to practice up to 12 hours a day, every day, to ensure that he could find success as a professional musician.

At one point, his father took him out of school to concentrate solely on his guitar development. In a 2012 interview de Lucía stated that, “I learned the guitar like a child learns to speak.”

Flamenco guitarist and biographer Donn Pohren and record producer José Torregrosa compared Paco’s relationship with his father to the relationship of Wolfgang Amadeus Mozart and Leopold Mozart in the way both fathers “moulded their sons” into becoming world-class musicians, and both continued to dictate even after they became famous.

Paco’s brother Ramón idolized Niño Ricardo, and taught his complex falsetas to his young brother, who would learn them with relative ease and change them to his own liking and embellish them. This angered Ramón initially who considered Ricardo’s works to be sacred and thought his brother was showing off, but he soon began to immensely respect his brother and came to realize that he was a prodigious talent and a fuera de serie, a special person. Like his brother, Ricardo was Paco’s most important influence, and his first guitar hero; Paco said “all of us youngsters would look up to him, trying to learn from him and copy him.”

In 1958, at age 11, Paco made his first public appearance on Radio Algeciras. That year, he met Sabicas for the first time in Malaga. A year later, he was awarded a special prize at the Festival Concurso International Flamenco de Jerez de la Frontera flamenco competition. A year later, he was awarded a special prize at the Festival Concurso International Flamenco de Jerez de la Frontera flamenco competition.

At the age of 14, he made his first record with his brother Pepe, “Los Chiquitos de Algeciras”/Kids of Algeciras and in the early 1960s, he toured with the flamenco troupe of dancer José Greco.

Then in New York City in 1963, at the age of 15, he had his second encounter with Sabicas and his first encounter with Mario Escudero, both of whom became his mentors and later close friends.

The 60s and 70s were a period that Paco deLucia introduced the world to flamenco and he recorded with singers and his brothers may albums that found more and more appreciation. He was encouraged and managed to take the old Spanish art form into new and fascinating directions, increasing his popularity as one of the great guitarists of all time.

1. Hasta la Fe de Bautismo (soleares de Cadiz) 4:20
2. Llorando gotas de sangre (Tientos de Cadiz) 3:58
3. Mira lo que te he "comprao" (Tarantas) 5:11
4. Que grande el castigo (Seguiriyas de Manuel Torres) 5:51
5. Ya no le temo a la muerte (Soleares de Alcala) 4:58
6. Que blancas canas te peinas (Malagueñas del Mellizo) 4:10
7. Si ahora tu no te arrepentias (Soleares viejas de Triana) 3:38
8. Un pastor en la sierra (Serranas) 5:01
9. Le estoy pidiendo a la virgen (Tientos de Chacón) 4:17
10. A buscar la flor (Malageñas de Chacón) 4:21
11. Tu no debes de tener celos (Debla, martinete y toná) 3:25
12. A clavito y a canela (Siguiriyas de Chacón) 4:18


Musica brasileira sempre! obra de arte!

Azimuth was the blueprint for the band's own 'samba doido'/ 'crazy samba' sound. Released in the summer of 1975, the album was a minor commercial success selling around 200,000 copies, but it's now recognised as an essential piece of Brazilian music history. Surely the rawest and funkiest of Azymuth's albums, every track exudes the brimming energy of three exceptionally creative young men from Rio, with incendiary results. Opener ‘Linha do Horizonte’ – a sublime piece of melancholic electronic saudade where deep cinematic synths melt into gently strummed acoustic jazz guitar - was used as the theme tune for TV Novella and went on to sell half a million, propelling Azymuth into national acclaim. Azymuth went on to become one of the best-selling jazz artists of the 80s, but this is one of their most special releases, and a firm cult favourite.

There were Brazilian jazz-funk records before Azymuth's 1975 self-titled offering, but none of them engaged with post-tropicalian psychedelia, MPB, samba, and disco the way this date does -- so much so that the bandmembers called their music "samba doido," which translates as "crazy samba." Azymuth were formed in 1973 by José Roberto Bertrami (keyboards), Alex Malheiros (bass, guitars), and Ivan Conti (drums, percussion). All three had been active session players in the decade before. After playing some club dates and backing other musicians on-stage and in the studio, they began recording Azimüth in 1974, completing it nine months later. Things get off to a mellow start on the dreamy "Linha do Horizonte," as electric piano, ARP strings, a Moog Satellite, acoustic guitar, drum kit, and fretless bass lay down a breezy backdrop for Bertrami to deliver Paulo Sergio's lithe melody. The tune is so blissed-out, playing it nonstop for six or seven hours seems entirely logical. As gorgeous as it is, this is only a small part of what Azymuth do well. "Melô Dos Dois Bicudos" -- which has been used by scores of DJs to animate the dancefloor -- is simultaneously jittering and martial; it's funky Brazilian samba at its best. While there's a reprise of the ethereal on the tender "Brazil," it's got its own little groove, informed by not only by '60s Brazilian jazz but also by the American soul-jazz of Joe Sample and the Crusaders. "Seems Like This" is trancey jazz-funk with serpentine lines by Bertrami, a punchy hypnotic bassline by Malheiros, and organic percussion and shuffling kit work from Conti. The entire frame shifts when Bertrami's voice enters; time gets stretched and the groove may bump, but it's juxtaposed against a melody that is equal part disco-soul and psychedelic samba. "Estrada Dos Deuses" is a bumping floor-groover with a wind-out synth line that hints at the sounds to come on 1977's Águia Não Come Mosca. The set's final two tracks have become DJ classics in the intervening decades. "Morning" was remixed by Peanut Butter Wolf, and with good reason. The cuica and bassline vamp is hypnotic, while Bertrami's synths and strings color his layered vocal repetitions of the title before his Rhodes piano adds enough jazzy improv to make it infectious. Closer "Periscópio" is a seven-and-half-minute jam with a monster funk groove. Malheiros' dirty-ass bassline is as nasty as Bootsy's and appended by raging organ (think Charles Earland) and trancey drum and percussion work. The breaks are killer, the pace picks up and slows, but the whole thing just coils around the listener like a snake that doesn't let go until an organ briefly cuts the tension (church-like) before a clavinet riff, layers of choogling percussion, and funky drums bring back the organ and bassline in overdrive and the tempo charges to the finish. Azimüth signaled even greater things to come. But no matter what the band achieved, this stands as a stone classic, eternal in funky music history. -AllMusic Review by Thom Jurek

1. Linha Do Horizonte 4:30
2. Melô Dos Dois Bicudos 3:09
3. Brazil 3:59
4. Faça De Conta 4:32
5. Caça A Raposa 5:13
6. Estrada Dos Deuses 3:41
7. Esperando A Minha Vez 3:01
8. Montreal City 3:19
9. Manhã 3:48
10. Periscópio 7:36
11. Morning (Peanut Butter Wolf Re Edit) (Extra Track) 3:42


Spectral, outsider gospel from Detroit, 1978, with Otis extemporising to himself worryingly in the name of the Lord, and zoning out on his Hammond (with rhythm unit). Pretty gone. Terrific.

This is one of the most extreme pieces of music I ever heard. And one of my favorites too. -mantra3000

This is straight from the top drawer. Raw, heartfelt and utterly brilliant gospel music. But not gospel as you know it.

For outsider gospel visionary and Detroit native Otis G. Johnson, the Holy Ghost was in the machine: in this case a rhythm-equipped Hammond organ. Everything / God Is Love 78, a singular 1978 mid-fi document, features android percussion against chords of Otis's own invention, possessed by minor tonality and frequent bum notes. Lifting it further are extemporaneous vocal homilies to the rapture, love, and everything, plus occasional 'other' voicings that scratch at the periphery of the mix. Homespun gospel rarely entered this dirge-like, intuitive space, nor did it commonly achieve such a spectral and captivating hymn to its darkest conventions. (NG)

The enigma that is Otis G. Johnson first came to our attention on the excellent ''Personal Space'' compilation. His songs, built around a rhythm-equipped Hammond organ, possess a certain outsider quality that is hard to come by these days. The dirge like qualities of Johnson's songs belie his gospel intentions. Their minor chord voicing and occasional bum notes make Everything - God Is Love 78 a testament to the singer's own despair. But there is hopefulness buried within the grooves, deliverance lies just beyond the reaches of Johnson's homespun melodies. This is music that will take you somewhere else entirely.

1. Walk With Jesus 6:45
2. He's the Way 6:42
3. He's Everything 8:32
4. A Time to Go Home 4:28
5. Call on Jesus 5:40
6. All Things 3:17
7. Your Day 7:57
8. Come Back 9:36


Britain's Pressure Sounds is one of the best reggae reissue labels out there. Specializing in top-notch roots and dub material, Pressure Sounds produces its packages with care and reverence. This is the seventh in a series of the label's samplers, and although the artists represented in this collection are varied, the overall feel is one of cohesion.
Pressure Sounds started off as a subsidiary of On-U Sound run by Adrian Sherwood's long term associate Pete Holdsworth but quickly became a self-supporting label in its own right. What binds together all the releases on Pressure Sounds is the attempt to present Jamaican music of the highest quality, in many instances reviving rare albums or collections of 7'' cuts that previously were only available to the hard-core collector, or those with more money than sense. Also, the label has taken maximum care in ensuring reissues are accompanied by both extensive sleeve notes and distinguished artwork which, with the growing interest in vinyl, is becoming more and more important. Pressure Sounds fulfils its aim to search out and select reggae from the golden era of the genre, whether it is vocalists, harmony groups, deejays or dubs through Mento, Rocksteady, Classic roots from the 70s or Digital music from the 1980s and 1990s.

1. Althea And Donna - Gone to Negril 7:16
2. Lee Perry / The Talent Crew - Crazy Negril 5:13
3. Gladstone Anderson / The Roots Radics - Holy Mount Zion 3:18
4. The Roots Radics - Holy Mount Zion (Version) 3:03
5. Barry Brown / The Aggrovators - I Man Can't Live Like This 6:18
6. Barry Brown / The Aggrovators - From Creation I Man There 6:20
7. Diggory Kenrick / The Prophet Allstars - Oppression (Part 1) 4:07
8. Diggory Kenrick / The Prophet Allstars - Oppression (Part 2) 3:48
9. The Prophet Allstars - Oppression (Long mix) 4:33
10. Yabby You - Tell Us Our Past History 4:17
11. Yabby You - Tell Us Our Past History (Dub Plate Mix) 5:20
12. David Isaacs - Jah Love I (Extended Mix) 5:44
13. Freddie McKay - It De Hay 2:53
14. Sunshot Allstars - It De Hay (Version) 3:04


Great 2-on-1 album features Bobby Womack's debut solo album following his departure from his brothers and their band, The Valentino's released in 1969. Womack's second album was My Prescription, released in 1970

Womack Special, One -Two Punch..

"Fly Me To The Moon"/"My Prescription", the first two albums compiled together of singer/songwriter Bobby Womack, FLY ME TO THE MOON, the debut released 1969. The heart of soul all over, featuring "Fly Me To The Moon", "What Is This", "I'm A Midnight Mover", "Lillie Mae", "Think It Over", - Wilson Pickett also covered "Midnight Mover", written in collaboration by Pickett and Womack. Pickett always said, "Bobby Womack was his favorite songwriter", and eleven of twenty three songs on this compilation are Womack originals. Bobby Womack is noted as a fine guitar player and probably underrated, his unique vocal style stands tall with other elite singers, Otis Redding, Wilson Pickett, or a Clarence Carter...listen for the fine cover of the Mamas And Papas', "California Dreamin'". MY PRESCRIPTION, the second album recorded in 1970, features, "How I Miss You Baby", "More Than I Can Stand", "Arkansas State Prison", "Everyone's Gone To The Moon", and a soulistic jazz version of, "I Left My Heart In San Francisco". This has to be one of the very best recordings of Bobby Womack, a disc ya just can't stop spinning... -R. Webb

Bobby Womack, Sam Cooke's protegé and successful singer/songwriter/guitarist in the Valentinos, went solo in 1968 and traveled down South... DEEP down South, to cut his first album for the New-Orleans based Minit Records - recording most of it in Chips Moman's studio in Memphis.

If one didn't know any better, one would surely believe upon listening to this disc that Womack was signed to either Stax or FAME - it truly is THAT good and THAT Southern...

Bobby had a penchant for turning even the schmaltziest of tunes into sweat-dripping, raw soul jams. Case in point is "Fly Me to the Moon", a delicious, mid-tempo and horn-heavy take on the Tony Bennett classic. Womack's raspy vocal and his inimitable guitar wizardry are spot on from track one...

"Baby! You Oughta Think It Over" is pure, hard socking Southern Soul, featuring blaring horns, a sturdy, meaty beat and subdued, tasteful strings, while an interpretation of his own "Midnight Mover" is every bit as wild and feisty as Wilson Pickett's hit version.

Bobby's first solo hit, however, would be "What Is This", an amazing, fast paced, complex soul extravaganza that really puts the emphasis not only on Womack's incredible, rough and powerful voice, but especially on his talent as a guitarist as well; the chord progressions are exhilarating. 

It's the anguished ballad "Somebody Special" that knocked me out (five times) upon first listen. Bobby belts, wails, croons and soars on this sad, harrowing tale of unrequitted love. The haunting strings ad to the incredibly tense atmosphere. A masterpiece.

"Take Me" straddles the middle ground, a fantastic, mid-tempo soul gem that is embellished by some very effective wails on the harmonica. 

Next up is a gorgeously soulful take on the evergreen "Moonlight In Vermont" - really, Bobby's version is the only one I can dig - while the breathtakingly beautiful and inspiring "Love, the Time Is Now" conjurs up the sound, sentiment and message of Womack's mentor Sam Cooke's brilliant "A Change Is Gonna Come". Listen when Bobby sings the line 'let my people go', which is immediately followed by a harrowing fill from a weeping harmonica.

Less political, but equally moving, is "I'm In Love" - this too was a hit for Wilson Pickett in 1968, but when Bobby interprets his own material, there's just no comparison. Then again, he proved well at ease with other people's songbook, as demonstrates a latin-esque, hazey spin on the Mamas & the Papas "California Dreamin'".

But Womack ends his first, magnificent full-length disc on a steamy, rocking, funky note: Both the strutting "No Money In My Pocket" - which features Bobby overdubbing his own backing vocals and 'sock-it-to-'em' adlibs - and the frantic beater "Lillie Mae" are superior grooves, totally on par with anything coming from the James Brown school. 

Truly a special album to me, and one I will hold dear probably forever. -soulmakossa

Bobby Womack's second album on Minit Records rivals his first, Fly Me to the Moon. He establishes himself firmly in the mold of his contemporaries: Wilson Pickett, Don Covay, Johnnie Taylor, and other top soul men. An accomplished writer, Womack's never handicapped by poor material, but never hesitates to redo popular songs by other writers. He scores with a funky rendition of "Fly Me to the Moon" (taken from his debut Minit LP), and with poorer results (chart-wise), "I Left My Heart in San Francisco," though aesthetically it's as funky as a bowl of hardened grits. He takes both easy listening songs far from their original molds. "How I Miss You Baby," "More Than I Can Stand," and Sam Cooke's "I'm Gonna Forget About You" made the rotations at R&B stations across America for good reason -- they rock. Bobby "The Doctor" Womack fills this prescription and has you hankering for a refill. -AllMusic Review by Andrew Hamilton

Almost as perfect as his debut album, "My Prescription" keeps the sound firmly in a Southern Soul bag, adding some touches of pop and rock to the mix.

"How I Miss You Baby" is the persistently kickin' mid-tempo ballad kicking it all off. Bobby lets loose another one of his full-throttled vocals on here, with brilliant, greasy horns accentuating every downbeat. Similar in mood and tempo, "More Than I Can Stand" is even better; an autobiographical account of the romantic troubles Womack was going through at the time (he was still married to Sam Cooke's widow in 1970).

Real nitty-gritty country church soul stompin' comes with "It's Gonna Rain", a thundering groove monster layered in horns and soppin' in the ravenous purs of a Hammond organ. Briefly switching to pop with an inspired rendition of Jonathan King's "Everybody's Gone to the Moon", Womack turns in another mid-tempo soul wailer with the devastating "I Can't Take It Like a Man".

As he had done with "Fly Me to the Moon" (a track re-released on this album), Bobby jazzes up "I Left My Heart In San Francisco", speeding up the groove and perking it up with his own inimitable, funky guitar chops, after which he launches into the hardest funkin' jam here with the raw, lazily struttin' vamp "Arkansas State Prison". Featuring both old-time country slide guitar riffing and that 'pick axe and shovel' beat first heard on Sam Cooke's "Chain Gang", the lyrics are pretty brutal, dealing with in-jail murder, hound dogs, shady guards and a successful escape.

Again paying hommage to his mentor Sam Cooke, Womack then takes on "I'm Gonna Forget About You", turning it into a deliciously struttin', horn-infested groove, featuring a preposterously funky outro. He also considerably 'spices up' the Temptations' "Don't Look Back", adding more blaring horns and his own crackeling guitar riffs.

His pop sensibilities are showing once more with "Tried and Convicted", a stomping blues-based wailer that is sufficiently embellished with strings, but the man saves the best for last with one of soul music's most touching, melodic, beautiful ballads I have ever heard. Intensely personal, "Thank You" is the crowning achievement of this LP. Sparsely arranged, with Bobby churning out a heartfelt, intimate vocal, this gem of a tune is both pretty as it is soothing. A masterpiece.

In all, a fantastic album that should have received far more recognition than it did the first time of its release. Southern Soul at its finest. -soulmakossa

Fly Me To The Moon
1. Fly Me To The Moon (In Other Words) 2:10
2. Baby! You Oughta Think It's Over 2:38
3. I'm A Midnight Mover 2:05
4. What Is This 2:35
5. Somebody Special 3:00
6. Take Me 2:35
7. Moonlight In Vermont 2:38
8. Love, The Time Is Now 3:22
9. I'm In Love 2:47
10. California Dreamin' 3:25
11. No Money In My Pocket 3:05
12. Lillie Mae 1:59
My Prescription
13. How I Miss You Baby 3:18
14. More Than I Can Stand 2:52
15. It's Gonna Rain 2:24
16. Everyone's Gone To The Moon 2:39
17. I Can't Take It Like A Man 3:08
18. I Left My Heart In San Francisco 2:23
19. Arkansas State Prison 2:59
20. I'm Gonna Forget About You 2:28
21. Don't Look Back 2:49
22. Tried And Convicted 2:51
23. Thank You 4:08

Incl. booklet

This is a reissue of two Bobby Womack LP's from the late 1960's:
Side A & B - "Fly Me To The Moon" (Minit LP24014), 1968
Side C & D - "My Prescription" (Minit LP24027), 1969


Sends you on a trip through time and space

Rare and highly sought after in its original format, Os Brazões self-titled album was originally released on RGE Discos in 1969. It is a psychedelic masterpiece that fuses samba, r’n’b and rock ’n’ roll influences using fuzz guitars, synths, percussion, lush vocals and effects.

Brazilian airwaves were ruled by two distinct powers in the late ’60s: the verbose political rhetoric of a military regime hell-bent on keeping Communism out of Brazil by any means necessary, and the advent of tropicália. The new sounds were an alchemy of psychedelic rock tinkered with by locals, making it their own by mixing in local flair and bossa nova. By 1969, the same year Caetano Veloso and Gilberto Gil were arrested and sent into exile, military dictator Emílio Garrastazu Médici took the reins of the country, and the death penalty was instituted. This provided a turbulent yet fertile soil for Brazilians to express the woes of the times in song and art. It was also the time Os Brazões released its sole self-titled album, influenced by the angst of the day and the sounds of a hopefully better tomorrow.

The group first made a name for itself as Gal Costa’s backing band, yet allegedly never recorded alongside her. After seeing the electrifying shows put on by the group, the RGE label soon signed the group to record a single album. Though the influences of Os Mutantes and other tropicália artists of the time are present, what is laid to tape sounds nothing like the group’s contemporaries. The gloss of lush horns and complex arrangements found on Veloso and Gil records from the same era is missing. Found in its place is a wall of fuzz spread across the majority of the songs provided by, simply, Roberto. Layered within is wah-wah-drenched rhythm guitar by Miguel, who later adopted the moniker Miguel de Deus, recording one solo album titled Black Soul Brothers and another as a member of Assim Assado.

From the album’s first cut, a cover of Gilberto Gil’s “Pega a Voga, Cabeludo” things take off with an aggressive guitar lead that just doesn’t seem to halt until the album is over. The fully charged “Tão Longe de Mim” is undoubtedly the psychedelic crown jewel of the album, showcasing Eduardo’s scrappy drum work.

Os Brazões created music in a time of political upheaval; their copacetic original compositions are juxtaposed with subtly acidic Brazilian standards like “Volks, Volkswagen Blue” and “Carolina, Carol Bela.” The listener never forgets that this album is distinctly Brazilian, an audible Polaroid of their world slowly developing through four young Brazilians’ eyes: a fusion of past tranquility, present upheaval, and future uncertainty. -Brett Koshkin

1. Pega A Voga Cabeludo 3:14
2. Canastra Real 2:54
3. Módulo Lunar 4:52
4. Volksvolkswagen Blue 2:35
5. Tão Longe De Mim 2:12
6. Carolina, Carol Bela 2:07
7. Feitiço 3:10
8. Planador 2:31
9. Espiral 3:33
10. Gotham City 3:18
11. Momento B/8 2:44
12. Que Maravilha 2:30


Lovely compilation of party-guaranteed Afro Funk gems from the Nigerian flute maestro

Nigeria's Tee Mac has been a digger's favourite ever since his tunes came out in the 1980s, and alongside the likes of Willian Onyeabor, he has been one of the driving forces behind his country's afro-rock and afro-beat mania. France's Hot Casa have masterfully put together a compilation containing his best tunes, originally out on the Party Fever LP. This is all quality, but just to give you a little taster, you have the inimitable funk destroyer that is ''Nepa'',Tee Mac's notorious ''Talk To Me'' bombshell - a tune that verges closely to proto-house - the sublimely washed-out ''Stay On Me'', and the painfully hummable swings of ''Wake Up''

The long awaited Tee Mac ''best of'' is here at last juicy hot, explosive and threatens to shatter all existing records.

Tee Mac is a Nigeria’s multi-talented maestro flutist with cross-cultural Itsekiri and Swiss roots. Omatshola combined his first degree in Economics from the University of St. Gallen in Switzerland, with a specialization in classical music concert performance and philharmonic composition of the University of Lausanne. During a rich career spanning over 40 years, Omatshola formed numerous bands, including Tee Mac & Afro Collection in the 1970s. He recorded his first LP, United, with Polydor International in Germany with his European band Tee Mac United, in the late seventies. Omatshola hit the global music charts with two songs: ''Fly Robin Fly'', and ''Get Up & Boogie'' (owns 50% of the copy right) and toured extensively with his third band, Silver Convention, in the mid seventies. In other not to bore you with tell tales, let’s get into the heart of the album: We selelected seven beautiful and rare tracks from his album ''Party Fever'' 1978, a track from the ''Mixed Grill'' combo (1979) ''Night Illusion'' (1980). The top musicians team individually display their skill and collectively have delivered a hit repertoire. And we hope a bumper harvest for Tee Mac Omatshola Iseli for the next decade.

Afro-Soul Side
1. Nepa Oh Nepa 5:23
2. Talk To Me 4:07
3. Stay On Me 4:42
4. Wake Up 5:22

Afro-Funk Side
5. No One Can Rule The World 5:21
6. Talk To Me (1980 Version) 4:56
7. Nam- Myoho- Renge – Kyo 5:40
8. Living Everybody 5:21


DEEP FUNK !!! Superb coffret 3x45s reissue of the best Island Funk

The Blue Rhythm Combo from Barbados produced some of the heaviest funk records to come out of the Caribbean in the early '70s – crossing the local Spouge rhythm with a heavy dose of American styled funk and soul. Their singles on the Merrydisc label have long been sought after by DJs for their unique musical blend and tight-as-a-whip rhythms that stand shoulder to shoulder with some of the best party funk to come out of the United States.

This 7 triple pack brings together six of their heaviest tracks from the early to mid-'70s, culled from their releases on the famed Merrydisc label and a later single on WIRL that showcases their later and more soulful sound. Complete with liner notes telling the story of the band and some unseen pics, this is as close to Caribbean funk as you'll get without catching the plane and going there yourself.

1. Take That Funky Feeling 2:21
2. B.R.C's Groove 3:55
3. Black Water Gold 3:07
4. Sister Jeanie 2:50
5. I'm To Old (To Go Through Your Changes) 3:25
6. Get Down 2:23

Ivory Coast

Hot Casa Records is deeply honored to reissue one of the best Afrobeat albums in history, hiding two obscure and incredible tracks! Kalabuley Woman was composed by Pierre Antoine, an Ivorian artist supported by a 15 band members, including legendary Sammy Cropper on guitar, and Lola Everett on vocals. This fantastic album was recorded in Accra (Ghana) in 1977 and produced in Ivory Coast by the famous label Papa Disco. Ahui Ngoran Marcel aKa Pierre Antoine was born in 1951 in Aboisso, a city situated at 117 km from Abidjan, in the south-east part of Ivory Coast, close from the Ghanaian border. His name Pierre Antoine is a direct tribute to the French artist “Antoine”, as he loved to wear long hair and cool style jacket. In 1977, he settled down in Ghana where he discovered the most influential and prolific Afro-Soul scene, and started to work with Pat Thomas, his wife Lolla Everett, and the famous guitar player Sammy Cropper. During this period we can hear the musical evolution of the artist, while he got really close from the Afrobeat arrangement and the Panafrican scene. The musical arrangements of the album are amazing and unique, including a hypnotic piano and a fantastic horns section. A must have, simply a classic Afro-Soul album.

Ahui Ngoran Marcel Aka Pierre Antoine was born in 1951 in Aboisso, a city situated at 117 km from Abidjan, in  the south east part of Ivory Coast close from the ghanaian border. The activities of his family led him to Daloa in 1957 and Abidjan in 1965.

Right from his grade school, he devoted to his passion for the arts and at the age of 17, he was inscribe as calligrapher apprentice in Renault ( french car company) in Abidjan. Since then he really felt in love with the pop music and decided to become a singer. He started with the young trendy new scene of Abidjan like The Djinahouroux, New Système Pop and founded with few other friends the famous Les Fétiches.

During this period, he drew his inspiration from international pop music and especially french artists. His idols were James brown and the  famous french singer Johnny Hallyday. They  inspired him for the stage performance, the style, and the voice skills. Sometimes he covered in Agni (language from the south east part of the country) different  hits from the international charts. In 1977 for example we could hear on the Ivorian national radio, his single ''Man’s world'' originally interpreted by James Brown.

His name Pierre Antoine is a direct tribute to the french artist ''Antoine''. he loved to wear long hair, cool style jacket.

His solo career started in 1972, in the hot maquis (local bar and club) of the famous area of Abidjan called Adjame. He played with Sanwi Star International, Les Fetiches, Vis à Vis. He could travel and perform in all the west african countries such as Ghana, Burkina, Benin and Mali.

In 1977, he settled down in Ghana where he could met the most influencal and prolific Afro Soul scene and started to work with Pat Thomas, his wife Lolla Everett, and the famous guitar player Sammy Cropper. During this period we can hear the musical change of the artist, he was really close to the afro-beat arrangement and the panafrican scene. Sadly few journalists in Ivory Coast judged his music as too close from Fela Anikulapo Kuti. After that and all along the 80’s he decided to come back with more traditonal ivorian melodies.

Mainly interpreter, his passion was to organize music session and worked hard on his own songs. He also create his own label music label production: Ahui records.

His first hit was Say Min Sy Soh a really rare and costly 7 inch, Allaka Noun, Kalabuley Woman..Faux Pdg, on the famous Papa Disco label based in Abidjan.

During the 80’s Pierre Antoine kept creating and producing by himself and realized few independent productions. He died suddenly at the age of 42,  August 29, 1993.

Dedicated to his brother Stephen Ahui

1. Kalabuley Woman 11:41
2. Ye Man Noun (Our World) 11:49

Groove on

Its early 2015. Welcome to Africa Seven. We are a new record label. We may be based in Paris and London but our hearts firmly rooted in the universal motherland. We love African music, we want everyone to hear it and we want to spread the love. We are a collective of crate diggers, afro music-heads, label spotters and vinyl buying obsessives. We don't have any particular musical release agenda apart from, "is it of African origin, does it have a beat?, do we like it?". For the first few releases on Africa Seven we are exploring a rich seam of creativity and groove from the 70's. Stand by for re-issues from Manu Dibango, Jake Sollo, Jo Tongo, Pasteur Lappe and Tala AM to name but a few. 

Trying to decide our first release was a long drawn out affair. Everyone had their favorites. Would it be Manu, Tala, Ray, Jake or Jo? In the end we just couldn't decide. To keep the peace we settled on a taster compilation called "Africa Airways Vol 01". Think of it as a statement of intent. A sample of aural treats in store. As for the cheesy name, well... we like African Music, who doesn't like air hostesses? and we are plane geeks. It was a no-brainer really. 

Volume 1 of Africa Airways focuses on the funkier side of 70s African music. We can't think of any better way to start an African compilation than some pounding, powerful, masterful African drumming. Thank you Ekambi Brillant, you sure know how to set up an opening track. Next up we jump to the Cameroonian king of the Tchamassi dance, Tala Andre Marie (Tala AM is his snazzier moniker). "Black Gold" is a track that really says it all. Cant-sit-still grooves, masterfully jangly guitars and a really cool nascent use of synthesizers. Is it possible to play a song over and over again 300 times?... we think so. Elvis Kemayo is next up with the funky assault. Big brass, big basslines and happy times. Cameroonian native Jo Tongo, now lives in New York but back in the 70s he was part of the Fiesta label massive who were cranking out great records in Paris. "Jangolo" is quite possibly his finest moment. Keeping things Cameroon to finish up side one is the Saxophone master Manu Dibango. "Mimbo" is jazzy, darty gem. Manu recently turned 80 and celebrated with a series of gigs. A true afro legend with over 30 albums to his name. Quite a few have never been re-issued since the 70s and they are now patiently queued up on our release schedule. 

Opening side two of our vinyl is Jo Bisso. "Give It Up" is a funky, brass banger from 1977 on the Disques Esperance label. Next up is "Mbongui". Did you think a flute in African music could sound this funky? Nigerian Jake Sollo met with an untimely death but his music lives on. Jake was a leader of one of the first wave of funky afro bands to come out of Nigeria in the early 70s, "The Funkees". "Father Time and Mother Nature" retains all those key elements of what made his band so successful. Sookie are next up with their US style funk... but with an African twist. To finish up the LP Paris based "African Soul Band" bring out the dark strings, chanted Senegalese vocals and mirroring marimbas for their epic closer "Nande" from 1978. 

Africa Airways One - Funk Connection 1973-1980:

1. Ekambi Brillant - Africa Africa 2:06
2. Tala AM - Black Gold 5:19
3. Kemayo - Kag Am 3:05
4. Jo Tongo - Jangolo 4:52
5. Manu Dibango - Mimbo 4:35
6. Jo Bisso - Give It Up 4:00
7. M'Bamina - Mbongui 2:37
8. Jake Sollo - Father Time, Mother Nature 4:56
9. Sookie - Choco Date 4:20
10. African Souls Band - Nande 3:53

We are more than ten releases in here at Africa Seven. It has been a wild ride... It was eight months ago that we launched our label and released our debut release the Compilation ''Africa Airways One: Funk Connection''. It did better than we ever imagined and we had to repress the darned thing twice... So predictably for a follow up we humbly present you with ''Africa Airways Two: Funk Departures 1973-1982''. We have unashamedly stuck to the formula of our debut; keeping the funk deep and the groove pan-African. Heading straight for the afrobeat, dance-funk jugular.

We open up Volume Two with an absolute corker... ''Na Real Sekele Fo Ya'' from Cameroonian-in-Paris Pasteur Lappe. Produced by Jacob Desvarieux of Kassav fame, this track is an instant grabber; Think of the Blockheads ''Rhythm Stick'' goes Afro chant with deep, soulful moog grooves and on-point brass stabs. Next up is M'Bamina an Italian / Ivory Coast band who swing things heavy with ''Kilowi Kilowi''. Sweeting strings, funky bass lines wrapped around a late 70s style disco groove.

Ekambi Briallant is next up with his floor tappingly catchy afro soul ''Aboki (Mon Copain)'', produced by one of our favorite producers Slim Pezin. To round off the A-side of the vinyl we present the first outing from the Makeba family. Here the (sadly prematurely departed) Bongi Makeba, daughter of ''Mama Africa'' Myriam Makeba, shows the world just what an amazing artist she would have developed into. Bongi wrote a fair number of her mother s tracks in her later years and ''Don t Do It'' shows us what true talent for the song she was blessed with. The track powers along with wah-wah guitar and masterful alto sax. A real treat.

Friend of Africa Seven and Cameroonian native Jo Tongo opens thing up on Side B. Jo now lives in New York but back in the 70s he was part of the Fiesta label collective who were cranking out great records in Paris. ''Piani'' is his purest dancefloor moment, here again in full glory. Next up we bend our African remit ever-so slightly and head off to Holland for a James Brown style fuelled funk stomper ''Relax.. Before Doing Sex'' from Oscar Harris and his crew. Its big, its bold, its brassy... It s fun.

The power trio of Bozambo are next up. Between them they have released over 12 solo LPs and here together with ''Get it On The Music'' they power through with a keyboard/synyh driven afro-funk groove years ahead of its time... made in 1978 but sounding like 1984. Misse Ngoh is one great guitarist and a masterful adaptor of the Makossa rhythms of his native Cameroun. The title track from his Esperance 1979 LP ''Tata Ngoh'' mixes in his trademark rhythms and grooves with slap bass and striking brass lines. One heck of a catchy song too.

We round off the compilation with the Queen of Queens, Myriam Makeba. Possibly / probably the most influential female musician to come out of Africa... ever. ''Mama Africa's '' biography is awe-inspiring and vast, but very hard to summarize in a few sentences... so please check it out for yourself. From breaking the African sound in the West, to the obsessively catchy ''Pata Pata'' to the influential, focal role she played in helping bring an end to Apartheid in her native South Africa. There are many tracks to feature from Myriam but we aren't about hits here at Africa Seven. Being the crate diggers we are, we thought the best way we could honour the lady was to dig the crate even deeper and go with the most obscure Myriam track we could find. ''Toyota Fantasy'' was recorded during her exile years spent in Guinea with the Esperance team as a one off promotional 7'' single giveaway release. Be aspirational, as the lady says.

We hope you enjoy your flight with African Airways Two. We hope to be fueling up an aircraft with some psychedelic propellant for volume 3 sometime in 2016... at a vinyl store near you.

Africa Airways Two - Funk Departures 1973-1982:

1. Pasteur Lappe - Na Real Sekele Fo Ya 6:20
2. M'Bamina - Kilowi-Kilowi 5:45
3. Ekambi Brillant - Aboki (Mon Copain) 4:38
4. Bongi Makeba - Don't Do It 3:39
5. Jo Tongo - Piani 4:37
6. Oscar Harris And The Twinkle Stars - Relax (Before Doin' Sex) 3:51
7. Bozambo - Get It On The Music 3:49
8. Misse Ngoh - Tata Ngoh 3:34
9. Myriam Makeba - Toyota Fantasy (John Bryan Edit) 3:51

We are pleased to welcome you once more aboard Africa Airways. For your third flight your pilot has informed us of some particularly adverse turbulence en-route. Your trip may be multi-coloured, the winds may be swirling and the clouds may be kaleidoscopic. Ladies and Gentlemen, please fasten your seat belts for your mind-expanding journey through the Afro-Psych skies. 

Opening up proceedings are Afro National from Sierra Leone. Their progressive psyche-highlife foot-stomper setting down a marker for things to come. Next it is Ifang Bondi who serves up a swirling concoction of powering afro rhythms, fuzz guitar, magic flute, fuzz organ, all underpinned with a driving powerful driving bass line. Next stop is Mali where Sory Bamba serves up the highlight from his 1979 album "Kanaga 78". An early use of psychedelic synthesizer paired cleverly with pulsating bass guitar and harsh choppy guitar. 

We step forward in time a few years for the distorted guitar chords and over-stacked beats of "Nzango" by African Black. Bunzu Soundz from Ghana close side A with their choppy, percussive, "Zinabu". 

Messi Jacques & Les Dissoumbas De Libreville open up side B with "Onga Ben Ma Na Mene Mebua", prepare for an onslaught of psych organ, crazed drumming and eeechho vocals to the max. Decca West Africa, Nigerian favorites Ofo and The Black Company grind out the psych factor next with their conga driven fuzz fest "Allah Wakbarr". The Damas Swing Orchestra slow proceedings down with their afro left-field swing micro epic "Odylife". 

We take a brief detour via Indonesia for the AKA and their dance floor mover "Shake Me". It’s a track of two halves. Psychedelic throughout but in the second half things swing fast and funky. We close down with the master Manu Dibango. Proving he can turn his hand to just about any genre of music, the Cameroonian legend delivers his pensive, xylo-driven, riff locked, soundtrack epic "Ceddo" to close out our journey. 

Welcome to your destination. We hope you enjoyed your trip.

Africa Airways Three - The Afro-Psych Excursion 1972 - 1984:

1. Afro National - Push Am Forward 3:37
2. Ifang Bondi and The Afro Mandingue Sounds - Atis-A-Tis 4:39
3. Sory Bamba - Kanaga 78 4:57
4. African Black - Nzango 7:03
5. Bunzu Soundz - Zinabu 3:21
6. Messi Jacques & Les Dissoumbas De Libreville - Onga Ben Ma Na Mene Mebua 6:18
7. Ofo & The Black Company - Allah Wakbarr 3:30
8. Damas Swing Orchestra - Odylife 2:19
9. AKA - Shake Me 5:32
10. Manu Dibango - Ceddo 5:10

It's just over 3 years since we launched the Africa Seven label in Paris and London. Our first release back then (Airways One) is still our best seller and had to be repressed 4 times so far. Forty or so releases later it is time to take to the clouds again. Being the unimaginative bunch we are, the fourth installment of our African sky filled musical cornucopia is called African Airways Four (Disco Funk Touchdown - 1976 - 1983). This time around all tunes have the Disco flavour. As ever it's all about the music... the skies are wide and funky and the air is filled with musical goodness. Your flight is about to leave. 

Your flight opens with a punchy disco funk assault from Paris based Cameroonian Tala AM. Here with his drive bass and guitar funk riff 1981 stomper "Get Up Tchmassi". Next up and staying with the Cameroonian connection is Eko with "Bowaa Mba Ngebe". The lyrics talk of accomplishing the things in life for your family and yourself. The sweeping strings and gloriously uplifting music matching the sentiments of the words perfectly. Uta Bella began singing in the 60's and by the time disco hit in the 70's she was already established a singer in her native Cameroon, here the locked on groove of "Nassa Nassa" is a perfect snapshot of the sound and the African disco times. 

Charly Kingson (cousin of Manu Dibango) is next with his "Nimele Bolo". Recorded in Germany with the cream of Munich's session musicians the bass synth is out in force on this one. Punchy brass, rock solid grooves and jazzy Rhodes add all the right ingredients for a fine disco synth excursion. Next is the musical heavyweight from Cameroon cousin Manu with his 1978 Disco, jazz funk masterpiece "Sun Explosion". 

Side two opens with a blast of Elvis Kemayo and his piano and guitar funk bomb "Biram". Next Momo Joseph gives us "Africain". Best known in France as an actor, this disco funk groover was released on his self pressed LP "War For Ground" in 1983. A true gem indeed. Nigerian, ex Funkees member Jake Sollo is next with "Tinni Yanana". Recorded in the UK in 83 its slick and smooth with a hint of "at the car wash" groove. Pierre Didy Tchakounte follows on with his soul funk 'golden years' style groover "Soul Magabe". Produced by one of our favourite Parisian producers Slim Pezin. We close off our journey with the tribal chant disco-funk special from the Monstars "Funny Saga". 

Ladies and Gentleman, we have landed at your destination, please remain seated until the aircraft has reached the terminal. We look forward to welcoming you aboard Africa Airways again soon.

Africa Airways Four - Disco Funk Touchdown 1976 - 1983:

1. Tala AM - Get Up Tchamassi 3:08
2. Eko - Bowa'a Mba Ngebe 3:29
3. Uta Bella - Nassa Nassa 3:55
4. Charly Kingson - Nimele Bolo 5:21
5. Manu Dibango - Sun Explosion 8:10
6. Kemayo and K. System - Biram 1:58
7. Momo Joseph - Africain 4:27
8. Jake Sollo - Tinini Yanana 7:13
9. Pierre Didy Tchakounte - Soul Magabe 3:38
10. The Monstars - Funny Saga (No Strings Edit) 3:25


Mr Bongo is delighted to reissue the self-titled cult album from Os Ipanemas on CD and LP. The result of a 1964 jam session organized by Astor Silva and Wilson das Neves, this record was originally released in 1975 on the Brazilian label Discos CBS. Neves is a key figure in the history of Brazilian music, having played drums with practically every great musician of his generation. The idea behind the record was to break the traditional bossa trio mold, creating a harder-edged jazz and bossa sound that allowed for more soloing and improvisation, and the result is a stone-cold classic essential for all Brazilian music fans.

The Ipanemas

In the 1960s The Ipanemas changed the face of Brazilian music with their Afro Samba sound. Consisting of Astor Silva (trombone) Marinho (bass) Wilson das Neves (drums) Rubens Bassini (percussion) and Neco (guitar), they released only one album in the 1960s; the now cult ‘Os Ipanemas’ was released in 1964 and recorded in Rio and is a mix of Bossa nova, Brazilian samba, African rhythms and Jazz.

Wilson was working as a session musician for the orchestra of TV Globo where he and Neco first met. During the Sixties they were both contracted as in-house musicians to CBS Records by the trombonist Astor Silva who was the musical director and chief arranger for the record label. Wilson describes how the recording came about, “We were contracted to CBS so we all got together and had a chat and decided to record an album. It was off our own initiative and as Astor Silva our maestro was musical director at CBS it was easy to make it happen. It was quick to record – we did it in two weeks or less because it was everyone together and there was no playback at that time.”

Understated words from Wilson yet The Ipanemas were nothing less than musical alchemists when they fused Afro-Brazilian jazz, samba and bossa and their debut album remains a unique piece of alchemy in the history of Brazilian music. Unfortunately for the Ipanemas the album was just too radical for the then newly emergent bossa nova movement and the album was largely overlooked.

Wilson is one of Brazil’s most prolific drummers whilst Neco is an unassuming genius of bossa nova guitar. Wilson and Neco were instrumental in breaking bossa nova in Brazil back in the 1950s and in the decades since. They have recorded with many great Brazilian legends; both have played a major part in Brazil’s musical history. Wilson das Neves, who is also now a vocalist, has long been one of the most sought after drummers in Brazil and Neco’s bossa guitar skills can be traced to many countless cult classics.

Wilson das Neves was born June 14 1936 in Rio de Janeiro. He is a Brazilian Percussionist and is a key figure in the history of Brazilian music, having played with many of Brazil’s greatest musicians across many decades and after having featured on numerous important recordings. Wilson grew and learnt his trade in Rio; his roots came from Pernambuco, Brazil’s former slave centre. Wilson fills us in on some family history: ‘My father was from Pernambuco and my mother from Salvador. My great-grandmother was the daughter of slaves there. I used to hear a lot of music at home from when I was very small. Lots of partido and Candomble with regional music and flutes, bandolim and cavaquinho.’ The mix of influences would be essential to the sound of The Ipanemas.

Neco also born and raised in Rio is a Brazilian guitarist, arranger and composer; he is noted by his right hand with a strong sense of rhythm. He has participated on several recording sessions for many record labels among his career. Neco released his first LP in 1963, ‘Samba Nova Concepcao’ in which he was in charge of the arrangements and orchestra.

Both Wilson and Neco supplemented their incomes by appearing on local radio like Radio Nacional and Radio Tupi, two of the big stations at the time. They also played at local parties or as they were called back then bailes (balls). Wilson recalls those heady days: “Back in those days we would play at twenty graduation balls in a month. There were also theatre reviews and nightclubs spots - there was a lot of variety to the work. I learnt so much - it was like a university of music for me.”

Time passed by and The Ipanemas, as a band, faded into the book shelves of Brazilian music history. It seemed that this was where they were to stay until Joe Davis, founder of Far Out recordings, had an idea that would change the fate of the bands future. Joe had been working hard alongside Ivan Conti of Azymuth who also happened to be Wilson das Neves old time friend. Ivan asked Joe if he could assist them in putting a new production together, Joe happily agreed and the band was reformed in 2000 by Joe and Roc Hunter. The members now consisted of Wilson das Neves, Ivan Conti and Neco Wilson.

With the help of Ivan Conti, Jorge Helder and Vitor Santos they have released five albums with Far Out Recordings: ‘The Return of The Ipanemas’ followed by 2003s ‘Afro Bossa’ ‘Samba Is Our Gift‘ in 2006, ‘Call of the Gods’ in 2008 and finally ‘Que Beleza’ in 2010.

The Ipanemas embarked on their debut tour in 2008, it was a rare chance to hear their 1960s repertoire as well as songs from all their Far Out Recordings released played live in the UK for the first time ever. The line up included very special guests including Alex Malheiros from Azymuth.

Sadly, in 2008 Neco passed away taking half a century of Brazilian music history with him. After his death it was only right for Wilson das Neves and Ivan Conti to make an album dedicated to wonderful life of Neco. So in June 2010 The Ipanemas released ‘Que Beleza’ through Far Out Recordings. Wilson and The Ipanemas returned and their creativity output was as important to them as it was in Neco’s memory. No one else could possibly recreate the unique music they made.

1. Consolação 2:50
2. Nanã 2:22
3. Se Chegou Assim 3:04
4. Kenya 3:04
5. Zulu's 3:18
6. Clouds 2:41
7. Adriana 1:38
8. Garôta De Ipanema 2:36
9. Jangal 2:33
10. Berimbau 2:39
11. Congo 3:28
12. Java 3:19


Legendary 70’s Nigerian electronic funk album produced by William Onyeabor. 4 tracks of the highest quality afro-beat with an electronic twist… all different tempos, moods and grooves covered. This seminal rare LP has now been remastered and finaly available.

AFRO-FUNK HEAT REPRESSED! N'Draman Blintch's sole release from 1979 is a prime example of high energy afro-beat with an electronic disco twist. Inspecting the liner notes will reveal that Cikamele was produced by Nigerian synthesizer pioneer William Onyeabor(!), which definitely accounts for its incredibly funky leanings. Check the sound on "Man-Nou," and the scorching "I First U Last" and "Saigner L'Afrique." Basically all killer jams. Unless you're an elite digger, chances are you haven't come across this one (we've never seen it around till now), so do the right thing and cop this great sounding (better than the original) remastered reissue while it lasts! 4 tracks, pic sleeve. Recommended.

1. Man-Nou 7:56
2. I First "U" Last 8:23
3. Saigner-L'Afrique 8:13
4. Cikamele' 7:29


Very good collection of songs Dubs and DJ's with lesser known Roots Reggae trio Knowledge from late 1970's to early 1980's. -Dan

Knowledge were a Jamaican roots reggae group, best known for their work in the late 1970s and early 1980s, which saw them sign to A&M Records.

The group formed in the Rema area of Kingston, in 1974, the line-up including Anthony Doyley (lead vocals and main songwriter), Delroy Fowlin (vocals) aka Bronco Knowledge, Earl MacFarlane (vocals), Michael Smith (guitar), and Michael Samuels (vocals). Doyley had previously been a member of The Classics, who had recorded for Lee "Scratch" Perry in the late 1960s. Paul Freeman joined the group later in their career. They recorded for deejay and producer Tapper Zukie, first on the "Make Faith" single, with several releases on his "Stars" label. These led to a major label deal with A&M, who issued the group's debut album, Hail Dread (produced by Zukie), in 1978. The deal with A&M proved to be short-lived, with the group's second album, Judgement, issued on the Roach label in 1980. Samuels subsequently embarked on a solo career, and Freeman set up his own 'Sunshine' label, along with Trevor "Leggo Beast" Douglas.

In the early 1980s, the group worked with producer Roy Cousins, achieving reggae hits with "Na Buy Apartheid", "Chant Rasta Man", and "Fire Burn" on Cousins' Tamoki-Wambesi label. They used musicians including keyboard player Pablove Black, Winston Wright, Leroy "Horsemouth" Wallace, and Sowell Radics. Magnus Skeen (vocals) joined the group during this time to replace a member who had left the group earlier. These recordings were collected on the Stumbling Block album in 1982.

Three members of the group were murdered throughout the group's tenure, the last member killed was Magnus Skeen on 22 May 2002. The group split up, with Doyley emigrating to England. He died on 26 February 2011, aged 55. Delroy Fowlin also emigrated to England in 2001, and released his own albums, Tell Me Something and More Knowledge for the People; he now sings in the streets of Toulouse (France). Michael Smith migrated to England in May 2002 where he still resides.

Hail Dread (1978) A&M, reissued under the title Word, Sound and Power (1978) Tappa
Judgement (1980) Roach
Stumbling Block (1982) Tamoki-Wambesi (reissued 1995)
Straight Outta Trenchtown: 1975-1980 (2002) Makasound
Kebra-Nagast (2005), Tamoki-Wambesi-Dove
Rasta Don't Take Bribe (2006) Tamoki-Wambesi-Dove

Heavy Reggae rhythms with strong vocals.

1. Prince Far I & Knowledge - Negusa Nagast (on 'If You Want Good' rhythm by The Royals) 4:29
2. Knowledge - Praises To Jah (on 'Jerry Doghead' rhythm by Prince Far I) 3:36
3. Prince Far I - Stop The War (on 'Jerry Doghead' rhythm by Prince Far I) 4:30
4. Knowledge - Calling All The Rasses (on 'Riding For a Fall' Rhythm, slow version) 3:14
5. Knowledge & ERS - Rasses Calling (Dub version of previous track) 3:10
6. Knowledge & Brenda Ray - Shoulder To Lean On (on 'May Be For Long' rhythm by The Gaylads) 3:52
7. Baba Dread - How Long (on 'May Be For Long' rhythm by The Gaylads) 3:37
8. Charlie Chaplin & Knowledge - One Way To Zion (on 'Once Ago' rhythm by Gregory Isaacs, slow version) 4:16
9. Jah Stitch - Domino Tournament (on 'Once Ago' rhythm by Gregory Isaacs, slow version) 3:19
10. Knowledge & Prince Far I - Janhoi (on 'Make Believe Is Not Reality' rhythm by The Royals) 3:12
11. Charlie Chaplin & Knowledge - Get Up And Move Now{ 4:01
12. Charlie Chaplin - Mother In Law{ all three on same rhythm 4:00
13. Charlie Chaplin & Knowledge & Prince Far I - Gebbi{ 4:05
14. Knowledge - Rasta Don't Take Bribe 4:10
15. Jah Stitch - Life In The Ghetto 3:57
16. Knowledge - Good Deed (on 'Pyaka' rhythm by Winston Jarrett) 4:37
17. Knowledge & ERS - Good Mix (on 'Pyaka' rhythm by Winston Jarrett) 4:38
18. Knowledge & Prince Far I - In Our Fathers House 3:38
19. Prince Far I - African Queen 3:41
20. Knowledge & ERS - Bumbling Block (Dub) 3:22

Some titles i recognise from Pressure Sounds Royals dub set but some are a real mystery... Sound mastering is very good bar a couple of tracks.

Vocals : Knowledge (Anthony Doley, Delroy Fowlin and Michael Smith), Prince Far I, Charlie Chaplin, Jah Stitch, and Brenda Ray.
Drums : Style Scott & Horsemouth Wallace & Sly Dunbar
Bass : Robbie Shakespeare & Lloyd Parks & Bagga Walker & Flabba Holt
Guitar : Dwight Pickney & Ranchie & Chinna Smith & Noel Bailey & Bingy Bunny
Keyboards : Gladstone Anderson & Pablove Black & Robert Lynn & Steelie Johnson
Horns : Tommy McCook & Bobby Ellis & Herman Marquis
Percussions : Brenda Ray & Skully

Recorded at King Tubby's, Harry J's, Channel 1, Naffi Universal, Pink Museum, Eden, Amadeus Studios.
Produced by Roy Cousins (The Royals).

Incl. booklet


Another incredibly original album from the Solar/Rozenblit catalogue. This features the fabulous trio of Lula Cortes, Marconi Notaro and Zé Ramalho.

This joyous masterpiece stands musically somewhere between the Lula Cortes 'Satwa' and the 'Paebiru' album with Ze Ramhalo. A poet's vision in mellow song, mixed with tropicalia tinged-folk, Latin and bossa nova rhythms, uplifted by joyful experimentations with electric sounds and trance-inducing effects. Tribal-esque percussion compliments the ragas, created by the beautiful sitar-like instrument 'tricordio', made by Lula himself.

first ever reissue of this totally brilliant post-satwa 1973 brazilian private press featuring the core trio lula cortes, marconi notaro & ramalho. recorded just months after lula & lailson had released satwa, lula was back in the same recife studio with poet and friend marconi notaro to lay down another equally magical album. ramalho, who would go on to record the paberu 2lp with lula two years later, makes his recording debut here as well… somehow amidst the harsh government restrictions of 70s brazil, lula côrtes and his group of artist friends had managed to bypass the authorities and create a hugely creative micro-world of their own, recording, producing, and releasing this album with complete independence. no small feat in and of itself, no doubt, but the music is what makes this slab a true lost masterpiece… the whole album gushes forth with a sun baked spirit of the highest level, mixing tropicalia tinged folk-beat groovers, satwa style bliss trance ragas, pabiru favored lysergic jungle psych, and even a raging fuzz/wah soaked garage psych rocker. extremely mind melting from start to finish, with huge washes of rippling tape delay, electric & acoustic guitars, 12 string, tranced folk percussion, passionate yet mellow vocals, liquid electric bass, acid effects everywhere, and of course lula's mercurial & heart melting tricrdio (an instrument he made himself, something like a sitar/dulcimer hybrid). beautiful, melancholy and joyous all at the same moment, this is an album that after 33 years still sounds completely fresh & unique… sadly marconi passed away in 2000 having lived a life of obscurity even in his own town, yet leaving behind 7 published books of poetry and this stunning, lone album. this reissue has been authorized by maconi's daughter and lula côrtes to insure they receive the credit and funds they deserve, even if it comes 3 decades late…

1. Desmantelado 1:46
2. Ah Vida Ávida 3:52
3. Fidelidade 3:23
4. Marucatú 0:51
5. Made In Pb 2:35
6. Antropológica N° 1 2:45
7. Antropológica N° 2 4:50
8. Sinfonia Em Ré 5:40
9. Nâo Tenho Imaginaçao Pra Mudar De Mulher 2:44
10. Oda A Satwa 4:58

London, UK

The second in the Pay It All Back series collects more rare cuts and album tracks from producer Adrian Sherwood's On-U Sound label. The songs are representative of the label's trademark techniques, with Lee Perry's "Train to Doomsville" illustrating Sherwood's penchant for recycling rhythm tracks (copped here from a Dub Syndicate album), while African Head Charge's typifies On-U's frequent exercises in vocal manipulation. Some of the songs are dub-oriented, while others are brutal and dark, especially Mark Stewart's "Jerusalem" and "The Wrong Name and Wrong Number." -AllMusic Review by Jason Ankeny

The Pay It All Back (or PIAB) series of compilations were On-U Sound's own promotional sampler LPs. PIAB Volume 1 was released in 1984 as a low price album designed to open up the sounds and acts on the label at the time to a wider audience and encourage people to invest in other On-U product. Subsequently, further studio and live volumes have appeared in the UK, USA and Japan at 2-6 year intervals, each acting as snapshot of who Sherwood was working with at the time. As such, they proved very popular, and several feature among On-U's best-selling albums.

The tracks featured were often different versions to those on the artists own solo releases and sometimes were exclusive to the compilation. Together they act both as a showcase and a potted history of the label though much of its life. The most recent release in the series, 'Chainstore Massacre', though bearing a different name, continues the tradition of promoting On-U's new material.

In addition to the studio compilations, the PIAB series lent its name to the touring On-U Sound show of 1991-92. Some of the performances were recorded, and as well as the release of separate albums of Dub Syndicate ('Live At The T&C': ON-U LP59) and African Head Charge ('Pride & Joy': ON-U LP58) live performances, a more general compilation called 'Pay It All Back: Live' was released in Japan. Finally, for the USA, a selection of tracks from PIAB Vols 1-3 was released simply titled 'Pay It All Back'. These two albums are also included in this listing.

All releases feature production work by AMS. Other compilations of On-U material can be found in the compilation discography. Incidentally 'Pay It All Back' is taken from the name of a Mark Stewart & the Maffia track.

1. Lee Perry & Dub Syndicate - Train To Doomsville 4:59
2. Barmy Army - Billy Bonds M.B.E. 3:48
3. Forehead Bros - Circular Motion 6:01
4. African Head Charge - What A Wonderful Day 4:46
5. Dub Syndicate Featuring Dr. Pablo - No Alternative (But To Fight) 5:18
6. Bim Sherman / Singers & Players - Run Them Away 3:40
7. Prince Far I / Singers & Players - Water The Garden 5:11
8. African Head Charge - Throw It Away (Remix) 3:03
9. Eskimo Fox - Digital (Theme From "On The Wire") 4:24
10. Prince Far I / S&P - Bedward The Flying Preacher 5:19
11. The Maffia - Hallelujah 2:53
12. Bim Sherman / Dub Syndicate - Haunting Ground 4:48
13. Mark Stewart & Maffia - Jersusalem 3:44
14. Mark Stewart - The Wrong Name & Wrong Number 7:54
15. Prince Far I / Singers & Players - Quante Jubila 3:40
16. Dub Syndicate - Red Sea 4:24

Incl. booklet


Tremendous set containing the complete recorded works of Darrell Banks - singles and both albums ('Darrell Banks Is Here', 1967, 'Here to Stay', 1969). 27 tracks by this singer whose life was cut short by a tragic and sudden death.

The title hints of the inner soul of Darrell Banks, a concept that may be over some heads; a more appropriate title for this 27-song extravaganza would have been The Complete Darrell Banks. Often called the best pure soul singer ever by serious students of the genre (a statement that Howard Tate fans will argue vehemently). Banks' recording career was short and sweet aesthetically, but a controversial mess on the business side. The double CD contains every track from his two albums on Atlantic and Volt Records, plus unreleased tracks, an especially sweet treat for Banks' admirers. Only fault is the sloppy compilation, a few tracks are different from what came out originally; however, only devotees will know that. Until someone comes up with something better, or remaster these tracks via some new super sound, this CD has everything you ever wanted from the late Darrell Banks and then some. -AllMusic Review by Andrew Hamilton

Best Darrell Banks Compilation Available

Born Darrell Eubanks on July 25, 1937 in Mansfield, Ohio, he was raised in Buffalo where he began singing Gospel music in church, before switching to secular music with two local groups calling themselves The Daddy B Combo and The Grand Prix. Now calling himself Darrell Banks, his first appearance on record came in 1966 with Lebaron Taylor's small and short-lived Detroit label called Revilot. In fact, he had both the first release and first hit for the label when Open The Door To Your Heart shot to # 2 R&B/# 27 Billboard Pop Hot 100 that summer on Revilot 201 b/w Our Love (Is In The Pocket).

That turned out to be one of just four hits for Revilot before it ceased operations in 1969, the second also being a Darrell Banks offering, Somebody (Somewhere) Needs You which finished at # 34 R&B/# 55 Hot 100 in November 1966 on Revilot 203 b/w Baby What'cha Got (For Me?). Taylor also introduced the subsidiary Solid Hit records which released 12 sides in 1966/67 without producing a hit. The overall lack of charted hits for the two labels owes much to the fact Taylor was operating on a limited budget where promotion was concerned and that, in turn, more or less underscores the significance of the accomplishment by Banks and the quality of the voice of this pure Northern Soul vocalist, especially when you consider that the other two hits came from The Parliaments in 1967 - (I Wanna) Testify and All Your Goodies Are Gone (The Loser's Seat). And they are in the R&R Hall Of Fame.

In 1967 he switched to the Atco subsidiary of the much larger Atlantic Records but strangely, despite the quality of the two singles released there that year - Here Come The Tears/I've Got That Feelin' (Atco 6471) and Angel Baby (Don't You Ever Leave Me)/Look Into The Eyes Of A Fool (Atco 6484) - not to mention Atlantic's ability to promote - neither could make any national charts, although the follow-up 1967 LP did fairly well: Darrell Banks Is Here (Atco 33-216) containing Here Come The Tears, I've Got That Feelin', I'm Gonna Hang My Head And Cry, Look Into The Eyes Of A Fool/Our Love (Is In The Pocket), Open The Door To Your Heart, Angel Baby (Don't You Ever Leave Me), Somebody (Somewhere) Needs You), Baby What'cha Got (For Me), You Better Go. The four Revilot sides were included here. In 1968 he released I Wanna Go Home/The Love Of My Woman on Cotillion 44006, another of Atlantic's subsidiaries, without success.

A move to the Stax/Volt operation in 1969 produced two unsuccessful singles - Just Because Your Love Is Gone/I'm The One Who Loves You (Volt 4014) and Beautiful Feeling/No One Blinder (Than A Man Who Won't See) (Volt 4026), as well as the 1969 LP Here To Stay (Volt 6002) containing Just Because Your Love Is Gone, Forgive Me, Only The Strong Survive, Don't Know What To Do, When A Man Loves A Woman, We'll Get Over, Beautiful Feeling, I Could Never Hate Her, Never Alone, No One Blinder (Than A Man Who Won't See), My Love Is Strictly Reserved (For You).

And that, with the exception of two previously unreleased sides - I'm Knockin' At Your Door (Please Let Me In) and The Harder You Love - was the extent of his brief recording career. Like Sam Cooke and Marvin Gaye, and eerily reflecting the titles of some of his recordings, his life was cut short on February 24, 1970 at age 33 when, after pointing a gun at an off-duty Detroit cop who was allegedly having an affair with Banks' girlfriend, he was fatally wounded in the neck.

This 1997 release by the U.K. outlet Goldmine Gold Supply pulls together all his recordings, including the two previously unreleased sides, and while the sound quality is good, there is room for improvement. But until something better comes along, this is easily the best Darrell Banks compilation available. -George O'Leary

1. Open the Door to Your Heart 2:38
2. Angel Baby (Don't You Ever Leave Me) 2:50
3. You Better Go 2:53
4. Here Comes the Tears 2:28
5. I've Got That Feelin' 2:15
6. I'm Gonna Hang My Head and Cry 2:49
7. Look Into the Eyes of a Fool 2:23
8. Our Love (Is in the Pocket) 2:36
9. The Love of My Woman (Version 1) 3:03
10. I'm Knocking at Your Door, Please Let Me In 4:46
11. I Wanna Go Home 4:13
12. Harder You Love 2:25
13. I Could Never Hate Her 2:16
14. Don't Know What to Do 2:27
15. Only the Strong Survive 2:57
16. I'm the One Who Loves You (Version 1) 3:10
17. My Love Is Strictly Reserved for You (Version 1) 2:45
18. I Will Fear No Evil 3:00
19. Baby What'cha Got For Me 3:09
20. Somebody, Somewhere (Needs You) (Version 1) 2:45
21. Just Because Your Love Is Gone 3:30
22. Forgive Me 2:30
23. Beautiful Feeling 3:23
24. Never Alone 2:42
25. No One Blinder (Than a Man Who Won't See) 3:01
26. When a Man Loves a Woman 3:03
27. We'll Get Over 2:32