{"title":"World and Politics","description":"","products":[{"product_id":"airto-natural-feelings","title":"Airto - Natural Feelings","description":"\u003cp\u003e\u003cspan\u003eFirst vinyl reissue in over 45 years for a long-lost, pivotal jazz fusion record! This album, originally released in 1970 on the thinly-distributed Skye label, marks Airto's debut as a bandleader and captures the percussionist right at the time he recorded Bitches Brew with Miles Davis, and right before he joined Weather Report for their first album. Indeed, the line-up on this album reflects the fact that Airto had one foot in the NYC jazz scene and one foot in his native Brazil, as bassist Ron Carter joins Airto's countrymen Sivuca and Hermeto Pascoal, along with Airto's wife Flora Purim. The music's a fascinating blend of jazz-funk-fusion and Brazilian tropes, here presented on 180-gram black vinyl, housed inside the original wild, Hieronymus Bosch album art. Limited to 500 copies!\u003c\/span\u003e\u003c\/p\u003e","brand":"MIDHEAVEN","offers":[{"title":"Default Title","offer_id":32227839180866,"sku":"","price":29.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/848064008842_1024x1024_005438c0-9dbe-4c69-847d-17e1bdc586a0.jpg?v=1595456946"},{"product_id":"feelling-kreyol-las-pale","title":"Feeling Kreyol - Las Pale","description":"\u003cp\u003e\u003cspan\u003eStrut present the first ever international reissue of in-demand ‘80s zouk LP ‘Las Palé’ by Feeling Kréyol, out of Guadeloupe.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProducer Darius Denon explains: “This was 1988 and bands like Zouk Machine and Kassav were huge. I had met producer Frankie Brumier when I was performing at festivals and parties and he wanted to record a girl group so we began scouting venues, mainly around the Grande-Terre district in the island’s capital, Pointe-à-Pitre. I ran auditions and picked out the best three voices – Fabienne, Leïla and Yolande. One was singing in a choir and none of them had met each other previously.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eRecording at a studio in Le Gosier, Denon trained them to sing the songs and spent around 6 weeks recording the album: “I gave them a couple of compositions that I had planned for my own solo album. I remember that we all got on really well; the sessions were fun.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe title track ‘Las Palé’ was the lead track pushed as a single and achieved modest success domestically. The band did a few promotional performances in the island’s discotheques but, in the end, the album stalled. “Studios were expensive and there was no cheap technology as we have now. So, the producer ended up cutting corners with the production – the mix was not completely\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003efinished and the voices were not synchronised right to some of the tracks.”\u003cbr\u003e\u003cbr\u003eFor Denon, he continued his career to the present day, successfully moving to Paris and breaking through with the hit ‘Je t’emmene’ in 1998. Meanwhile, although ‘Las Palé’ turned out to be Feeling Kréyol’s only recording, the interest in the album has grown in recent years with the title track’s lo-fi charm finding its way into sets by Invisible City and onto Red Light Radio, NTS and more. This first full reissue is remastered by The Carvery and features full original artwork along with a new interview with Darius Denon.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"redeye","offers":[{"title":"Default Title","offer_id":32227875258434,"sku":"LP-STRUT-195","price":24.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a3744277554_16.jpg?v=1595455141"},{"product_id":"konan-antoinette-antoinette-konan","title":"Antoinette Konan - s\/t","description":"\u003cp\u003e\u003cspan\u003eIt makes sense that Antoinette Konan’s eponymous album features nothing more than her ahoko on the cover. The deceptively simple traditional percussion instrument transformed Ivory Coast’s Baoulé music scene when Konan deployed it against a roaring electrified backdrop of synth, bass guitar and drum machines. Released in 1986, the album is a veritable UFO of instrumental force and contemporary pop sensibility landing in a boiling pot of diverse, creative characters inhabiting Abidjan, Ivory Coast (Côte d’Ivoire).\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eKnown as the “Queen of the Ahoko” among Ivorians, Konan single-handedly put the central-Ivorian instrument on the map when she gave it a 20th-century re-introduction. The three-piece wooden idiophone is handmade from a thin, ribbed, flexible stick, against which a smaller chunk of wood is rhythmically scraped. A hollow nutshell held in the non-scraping hand amplifies and manipulates the resulting overtones. Despite the ahoko's diminutive appearance, Konan and her powerful voice have remained at the forefront of Ivorian music for decades now, in an extremely diverse country—approximately 70 indigenous languages—with a competitive, internationally\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e-recognized music industry.\u003cbr\u003eMusic plays an important role in Baoulé cultural life, heard and seen in festivities, funerals and more. They are the largest ethnic group in Côte d’Ivoire and descend from Akan peoples who migrated from present-day central Ghana. Baoulé vocal music is characterized by polyphony, melodies built on parallel thirds and call-and-response. All of this can be heard in Konan’s music.\u003cbr\u003eIn 1976, she got her start with Ivory Coast’s National Television Orchestra (ORTI), backing major Ivorian stars on Podium, a program featuring youth culture hero Roger Fulgence Kassy. By 1980 she was playing in Musicaria, visionary Ivorian bandleader Boncana Maïga’s group. With Maïga, she expanded her creative horizons and learned new approaches. She also worked with influential producer Jimmy Hyacinthe’s band. His artistic agency in Treichville—Abidjan’s music industry epicenter at the time—further inspired Konan. She would hang out there after school.\u003cbr\u003eKonan had a difficult time balancing school and music but enrolled in a music program at INA (National Institute of Arts, where she later also taught classes) and was able to both travel for concerts overseas and study music. Meanwhile, she managed to work with some of Abidjan’s key arrangers and music-makers.\u003cbr\u003eMusic manager Amedé Koko Tanoh, who was also involved in the agency where Konan socialized, provided the original impetus for her to learn the ahoko in 1981 as a way to distinguish herself from other artists. He took her to study with a professional ahoko player, an old woman who began to teach Konan. But she soon brushed the young lady off and wouldn’t teach her any more. Konan continued on her own until her mother asked where she got the instrument. It turned out her mother knew how to play also, so Konan began to study with her mom. She taped her mom’s ahoko playing so she could practice back at university.\u003cbr\u003eDuring this early period, Konan borrowed clothes because she could not afford performance attire. Despite some ridicule she persevered. Music impresario George Tahi Benson, one of her key mentors, told her, “It’s good to dress the way you do. But what if you instead make the difference by promoting the local cloth, the Baoulé cloth.” She again got some negative feedback when she changed to traditional gowns. But it became her trademark look and gradually became trendy among Ivorians all over the country.\u003cbr\u003eKonan’s fingerprints are all over Antoinette Konan, she says, as it was meant to be a highly personal recording. She wanted to portray the suffering, injustice, frustrations, humiliations, personal career struggles, experience of child birth and poverty she sees in society.\u003cbr\u003eTaking on the producer role for the first time, Konan was the architect of her dancefloor-ready neo-traditional sound. But crucial to the recording was arranger Bamba Moussa Yang. A creative and versatile musical mind who was known for his work with legendary Ivorian singer Ernesto Djedje, Konan met him in 1986 after she had already released two albums. Yang brought a touch that matched Konan’s expectations, she says, because he knew her work so well. As she reflects on her long career today, Konan remembers Yang as her favorite arranger.\u003cbr\u003eOver the years Konan’s popularity grew to the upper echelons of Ivorian society: Ivory Coast’s first president Felix Houphouet Boigny’s would regularly invite Konan to perform at official ceremonies with foreign dignitaries. Through her charity and advocacy work on behalf of female musicians, Konan is still a force in the country’s music community. You can see her performing or speaking on television and around the country all the time—yet she still maintains several entrepreneurial projects in the farming sector. Konan has recorded more than 15 albums so far and plans more recordings soon.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"secretly canadian","offers":[{"title":"Default Title","offer_id":32227890462786,"sku":"","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a4210592353_16.jpg?v=1595455553"},{"product_id":"mazouni-un-dandy-en-exil-algerie","title":"Mazouni - Un Dandy En Exil ( Algérie- France 1969-1983 )","description":"\u003cp\u003e\u003cstrong\u003e\u003cem\u003eDead cool but fervent Algerian pop from the ‘60s\/‘70s, rife with killer Chaabi breaks and twists on rock ’n roll and French yé-yé - the first compilation dedicated to Mohammad Mazouin, and including songs impossible to find elsewhere \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Mohamed Mazouni, born January 4, 1940 in Blida (The City of Roses), a city which had just turned twenty. His memory dragged around a lot of catchy refrains by Rabah Driassa and Abderrahmane Aziz, also natives of Blida, or by 'asri (modern music) masters Bentir or Lamari. He began his singing career in those years, chosing bedoui as a style. In June 1965, Algeria adopted a Soviet-style profile where everything was planned, even music. Mazouni, he followed his path, recording a few popular tunes, but he also was in the mood for traveling beyond the Mediterranean. During the 1950s and 1960s, Mohamed was dumbfounded by Oum Kalsoum's songs and scopitones. Fully immersed, he soaked up the songs of Dahmane El Harrachi, Slimane Azem, Akli Yahiaten, or Cheikh El Hasnaoui, but also those from the crazy years of twist and rock n' roll as embodied by Johnny Hallyday, Les Chaussettes Noires, or Les Chats Sauvages, not to mention Elvis Presley.\u003c\/p\u003e\n\u003cp\u003e Between 1970 and 1990, he had a series of hits. Mazouni, a dandy shattered by his century and always all spruced up who barely performed on stage, had greatly benefited from the impact of scopitones, the ancestors of music videos. His strength lay in Arabic lyrics all his compatriots could understand, and catchy melodies accompanied by violin, goblet drum, qanun, tar (a small tambourine with jingles), lute, and sometimes electric guitar on yé-yé compositions. Like a politician, Mazouni drew on all themes knowing that he would nail it each time. This earned him the nickname \"Polaroid singer\". Mohamed Mazouni crossed the 1960s and 1970s with his dark humor and unifying mix of local styles. Besides his trivial topics, he also denounced racism and the appalling condition of immigrant workers. However, his way of telling of high school girls, cars and pleasure places earned him the favors of France's young migrant zazous. At the end of the 1990s, the distribution of Michèle Collery and Anaïs Prosaïc's documentary on Arabic and Berber scopitones highlighted Mazouni's importance. Mazouni did not stop singing and even had a few local hits, always driven by a \"wide targeting\" ambition.”\u003c\/p\u003e","brand":"MIDHEAVEN","offers":[{"title":"Default Title","offer_id":32227896426562,"sku":"","price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/3521383453599.jpg?v=1594727456"},{"product_id":"mighty-sparrow-the-the-slave","title":"The Mighty Sparrow - The Slave","description":"\u003cp\u003eBob Marley has been quoted as saying “When I heard Mighty Sparrow sing 'The Slave,' I knew what I wanted to do with my music.” The prolific and incendiary Sparrow creates calypso sounds so mighty that they’ve won him multiple titles of Calypso King in his native Trinidad. Recorded almost immediately after cessation of his RCA contract, this first-ever reissue of his 1963 National Record Company album is filled with Sparrow’s iconic singing style, wit, and (at times) scathing and provocative lyrics, including the salty tale of a “Stupid Married Man” and the topical tune of “Kennedy \u0026amp; Khrushchev”!\u003c\/p\u003e\n\u003cp\u003eThis is the first ever LP reissue of the iconic debut of Sparrow’s own National Recording Company. Sparrow (aka Slinger Francisco) has won Trinidad's Carnival Road March competition eight times, Calypso King\/Monarch eight times, and has twice won the Calypso King of Kings title.\u003c\/p\u003e","brand":"redeye","offers":[{"title":"Default Title","offer_id":32227899605058,"sku":"","price":26.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/MH-8202-400.jpg?v=1595455367"},{"product_id":"nahawa-doumbia-la-grande-cantatrice-malienne-vol-1","title":"Nâ Hawa Doumbia - La Grande Cantatrice Malienne, Vol 1","description":"\u003cp\u003e\u003cspan\u003eNahawa Doumbia is one of Mali's defining vocalists of the last four decades. Her work journeys through progressive stages of musical evolution and sonic vogues, making it hard to summarize or even comprehend. She's played a part in popular music since the late ‘70s, as her version of Wassoulou music developed from vocals-and-guitar duo into full-scale touring bands packing a bombastic, electrified punch. As Doumbia puts it, \"My music has changed multiple times to this day…The more I progressed in my musical career, the more instruments I have had accompany my songs.\"\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\u2029La Grande Cantatrice Malienne Vol 1 looks back to the beginning of Doumbia’s long career, when her voice was remarkably strong yet still developing. This was before she added bass and percussion, and finally the electric guitar and synths for which she became known in recent years.\u2029\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eShe'd been singing traditional music since her early teens in Bougouni. Doumbia performed with cultural troupes throughout her youth and gained the notice of Radio Mali officials who entered her in a Radio France International contest, Découverte 81 á Dakar, which she won. Whether she knew it or not, as a young lady from a town many hours from Mali’s capital Bamako, she was destined for a\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eworldwide touring career at the vanguard of Malian popular music.\u003cbr\u003e\u003cbr\u003e\u2029Released in 1981 by the excellent Côte d’Ivoire-based AS Records, the singer was barely 20 years old when it was recorded. She was accompanied by her future husband N’Gou Bagayoko on acoustic guitar, whose style echoes the nimble runs of traditional kamele n’goni players. The stark simplicity of this highly intimate recording—the audible room acoustics, the occasionally in-the-red vocals—do not obscure the mature strength of her voice. On Vol 1 Doumbia performs her songs with the tenacity and hunger of a young artist on the cusp.\u003cbr\u003e\u003cbr\u003e\"When I think about it, first, I am reminded of how long ago it was. It's one of the albums that I love most because it reminds me of my youth. I was so young and my voice was light and joyful. I still listen to some of those songs today. I am really proud of that first album because that’s where it all began. It shows me how far I’ve come in my personal and artistic life; it gives me the courage I need to keep going forward, and makes me appreciate all the years of dedication and hard work I put into my musical career.\u003cbr\u003e\u003cbr\u003e\"\u2029These early songs are rhythmically built around Bagayoko's sensitive guitar, as his fingers brush the fretboard and gently outline the melodies. Although this record predates the singer’s use of percussion, the driving skeletal didadi rhythm is apparent in the songs. Later albums like Vol 3 further prioritize her hometown didadi beat and the result made her famous.\u003cbr\u003e\u003cbr\u003eTranslation of back cover text\u2029:\u003cbr\u003e\u003cbr\u003eNahawa Doumbia was born in 1960 in Mafele, in the administrative unit of Manankoro, Bougouni circle in the Republic of Mali. Due to the cruel loss of her mother one week before her birth, she quickly gained inspiration from those around her. Which gave her inspiration for songs. Nahawa Doumbia soon worked for the theatrical troupe of her district. Several times, she performed for her region at the biennial arts and cultural youth of Mali in Bamako. After several entries in “nuits des vedettes” (“star nights”), she competed in 1978 and 1980 as a solo singer and won 3rd and 1st place, respectively. Her fame has transcended national borders. She also participated in the largest contest called \"Decouvertes 81\" (\"Discoveries 81\"). This contest was organized by Radio France International featuring twenty broadcasts from Africa and the Indian Ocean in order to promote the French language. She won the ICA (Institut Culturel Africain) award for the best song of traditional inspiration. She said: \"I do not want to inspire either laugh or dance, but to educate through my song.\"\u003c\/span\u003e\u003c\/p\u003e","brand":"secretly canadian","offers":[{"title":"Default Title","offer_id":32227903602754,"sku":"","price":28.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a2767819814_16.jpg?v=1595454741"},{"product_id":"timbouctou-tallawit-hali-diallo","title":"Tallawit Timbouctou - Hali Diallo","description":"\u003cp\u003eTimbouctou- Trance inducing music from Northern Mali. Griot Agali Ag Amoumine and his group Tallawit Timbouctou are champions of Takamba, a hypnotic traditional rhythm that dominates communities along the Niger bend. This live session, recorded at his home in Timbouctou, demonstrates the power of the music. Songs blend seamlessly into one another in a non-stop, relentless and unfiltered takamba as it's meant to be heard.\u003c\/p\u003e","brand":"secretly canadian","offers":[{"title":"Default Title","offer_id":32227935682626,"sku":"SS048lp","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a0386686579_10.jpg?v=1620676630"},{"product_id":"va-congo-revolution","title":"Various Artists - Congo Revolution ( Revolutionary and Evolutionary Sounds from the Two Congos 1955-62 )","description":"\u003cp\u003e\u003cem\u003e'Congo Revolution' looks at the explosion of music that came out of the Congo in the years leading up to independence in 1960. Congolese rumba, a wild combination of African, Jazz and Latin influences, created future stars of its now legendary creators – Franco, Grand Kalle, Tabu Ley, Dr. Nico, Papa Wemba - and all feature here in their ground-breaking early groups such as O.K.Jazz, Brazzos, Rock-A-Mambo, African Jazz and The Beguen Band.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \"The Congo is in fact two countries – The Democratic Republic of the Congo (DRC, formerly Zaire) and the Republic of the Congo. Congo Revolution was first released as a sampler 7” box set for RSD, and this expanded release includes a 50-page booklet\/double gatefold and inner sleeves containing extensive text explaining the evolution of the music and history of the two Congos, and how music, politics and popular culture intersected at the point of independence from the two Congos’ European colonisers – Belgium and France – through songs such as ‘Vive Patrice Lumumba,’ and ‘MNC Uhuru,’ which celebrated the Congolese independence leader prior to his political assassination. \u003c\/p\u003e\n\u003cp\u003e Also included is the stunning images of the Congolese photographer Jean Depara who documented the Congo’s vibrant nightlife in the period 1955-65 as well as being the official photographer for the superstar Congolese artist Franco up until his death in 1989. Depara also documents the rise of the Bills (Congolese teenagers who dressed as cowboys) and sharp-suited évolués (which later gave rise to the fashion-conscious phenomenon of the Congolese ‘Sapeurs’). These images are reproduced in collaboration with Revue Noire in France.\"\u003c\/p\u003e","brand":"redeye","offers":[{"title":"Default Title","offer_id":32227938598978,"sku":"","price":33.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/5026328504377_T57172149050054.jpg?v=1594408592"},{"product_id":"va-imaginational-anthem-ix","title":"Various Artists -  Ryley Walker Presents Imaginational Anthem, Vol. 9","description":"\u003cp\u003e\u003cspan\u003eTompkins Square label's very first release in 2005 was the acoustic guitar compilation, Imaginational Anthem Volume One. The concept was to showcase new talents alongside first-gen American Primitive guitar legends, a formula that stuck across the first three volumes. Volume Four, released in 2010, featured all contemporary players, giving many folks their first taste of William Tyler, C Joynes, Chris Forsyth and Tyler Ramsey. The label then started farming out curation duties to others : Sam Moss for Volume 5, Chris King for Volume 6 (Origins of American Primitive Guitar), Hayden Pedigo for Volume 7, and Michael Klausman \u0026amp; Brooks Rice for Volume 8 (The Private Press).\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eTompkins Square recruited label alum Ryley Walker to compile Volume Nine. Given his deep Rolodex and exquisite taste, it's no surprise that this comp is probably the most diverse of the series. Nine of the eleven artists were previously unknown to us, so we get to discover new artists just like our label fans do.\u003c\/span\u003e\u003c\/p\u003e","brand":"MIDHEAVEN","offers":[{"title":"Default Title","offer_id":32227938697282,"sku":"","price":18.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a0524179724_16.jpg?v=1594410619"},{"product_id":"van-zandt-townes-sky-blue","title":"Townes Van Zandt - Sky Blue","description":"\u003cp\u003e\u003cspan\u003eSky Blue, a collection of unreleased songs by one of the most celebrated songwriters of the twentieth century, is a time capsule that Townes Van Zandt created forty-six years ago, and we’re only now just unearthing and opening it to find the treasures inside.\u003c\/span\u003e\u003c\/p\u003e","brand":"MIDHEAVEN","offers":[{"title":"Default Title","offer_id":32227940008002,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a3836464818_16.jpg?v=1594576434"},{"product_id":"worku-asnaketch-asnaketch","title":"Asnaketch Worku - Asnaketch (2xLP)","description":"\u003cp\u003e\u003cspan\u003eThere is perhaps no woman more cherished in modern Ethiopian history than Asnakech Worku. As a musician, actress, dancer and cultural icon, Asnakech inspired and challenged society for decades, until her death in 2011. From her beginnings as Ethiopia’s first theater actress in 1952 to her acclaimed film appearances to her days as a club owner-turned-master musician, Asnakech’s inimitable confidence and charm made her a household name. She earned endless accolades across the artistic spectrum. \u003c\/span\u003e\u003cspan\u003eShe made seminal recordings of unforgettable original compositions, as well as legendary renditions of traditional songs, that became national staples. With a singular sense of style, glamour and sex appeal that sometimes stunned mainstream society, Asnakech wore clothes no one else wore and said things no one else said. Staid notions of how women should dress and behave didn’t apply to her. Battling a mentality that until the early 1950s had men wearing dresses to play female roles in the theater, Asnakech became a national treasure on her own terms. \u003c\/span\u003e\u003cspan\u003eHer family wasn’t pleased with Asnakech becoming an azmari—an itinerant praise musician who sings, often in bars, for\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003etips—and didn’t bother her, especially after Emperor Haile Selassie I began to emphasize theater and music in society, officially legitimizing her career. Asnakech became an internationally-celebrated performer of Ethiopia’s ancient harp, the krar, making her one of the most visible female musicians of the 20th century. All this while leaving controversy, broken hearts and a changed cultural landscape in her wake.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"secretly canadian","offers":[{"title":"Default Title","offer_id":32227948068930,"sku":"ATFA031lp","price":21.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a0660981082_16.jpg?v=1594696751"},{"product_id":"zoumbas-alexis-alexis-zoumbas","title":"Alexis Zoumbas - s\/t","description":"\u003cp\u003e\u003cspan\u003eViolinist Alexis Zoumbas emigrated from the mountains of northern Greece to NYC in the 1910s, where he recorded with the great Marika Papagika before cutting his own instrumental sessions with small string ensembles. Zoumbas had the rare gift of expressing emotion clearly and urgently through his instrument, and his violin feels like an extension of his heart, soul, and the deep musical history of his faraway home in Epirus. His music carries the feeling of Xenatia, a Greek word that roughly translates to \"a catastrophic longing for home.\" This mournful sound made him popular among homesick Greeks in early 20th-century America, and speaks to anyone who has felt that loss.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eZoumbas' original recordings were recently uncovered in pristine condition and have been restored in incredibly clear and present sound quality. This new compilation features previously unissued takes and stunning solo improvisations. 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The Solis family was part of a wave of migration during the 1940s that brought thousands of Texas-born Mexican-Americans, along with their culture, north. Though he played guitar from an early age, Solis eventually fell in love with conjunto music, a South Texas style defined by the combination of accordion and bajo sexto, a Mexican twelve-string bass guitar. He taught himself to play the bajo sexto and joined up with accordionist Manuel Rivera, playing for tips in bars around Southwest Detroit, the heart of Detroit’s Mexican-American community. In the late-1950s, he and his cousin WILLY HURON, a saxophonist, formed CONJUNTO LOS PRIMOS (“The Cousins”), at the time one of only a handful of conjuntos in the Midwest. Solis became a favorite in Detroit based on a vast repertoire of songs he compiled by following the latest hits coming up from Texas. Their musical style was more complex than the conjunto label suggests. The inclusion of Solis’s cousin Willy on saxophone blurs the line between working class conjunto music and the more middle class orquesta tejana, which includes more sophisticated string or horn sections. Likewise, they played a couple of polcas, the primary song form of the conjunto tradition, but also lean more toward styles like boleros and rancheras, song forms with roots in Cuba and Mexico. 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Though his releases are limited to six stunning and rare singles on the Pitch label and a single small-press LP, his recorded archive is vast. For much of his life, Brother Taylor kept a reel-to-reel recorder atop his piano at home. “The music just comes down on you,” Brother Taylor told us late last year. “You always have your machine where you can catch everything. ‘Cause what you can catch today you can’t remember tomorrow.” Brother Taylor recorded himself on his DIY home setup only when he was inspired by a higher power, often fasting and praying for days before recording. These intimate home recordings were digitized in 2020 and are being heard for the first time with this release. Revisiting these old songs brought Brother Taylor to tears. “[When I hear this music] I pick up the same spirit that I did it in. And you see me cryin’. It made me feel good ‘cause I know I did it and I did it well. 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Virtuosic fingerpicking of Near-Eastern modes at the dawn of rebetika, when the bouzouki was yet to become supreme. Recorded under a pseudonym for export to the Greeks living in America, it stands as an enduring mystery and the high standard for a once subversive art form. Includes Greek and English lyrics, extensive liner notes by TONY KLEIN and many previously unpublished photographs. 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This music survived (barely) within the black communities, and was not accepted outside of those communities until the spark of black pride, ignited in the 1960s, caught fire in the ’70s and ’80s. Now, in the ’90s, this music is the pride of Peru — cassettes of it are sold on the street alongside techno, Megadeth and Andean folk groups. And while it maintains its funky roots, it has attracted the creative talents of the best contemporary musicians, writers and poets who have furthered the evolution, growth and spread of this music. It’s not a secret anymore — and it’s yours to dance to.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"This is secret music — a collection of beautiful songs and infectious grooves that’s been hidden for years in the coastal towns and barrios of Peru. It’s not the guys with flutes and drums in woolly hats — it’s music of the black Peruvian communities. Black Peruvians? 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Remastered from the collection of Christopher King along with a set of deep notes, this music is unlike anything you’ve ever experienced. Features artwork by R. CRUMB.\u003c\/span\u003e","brand":"MIDHEAVEN","offers":[{"title":"Default Title","offer_id":32495276785730,"sku":"","price":24.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/5f57e857e9b22_main.jpg?v=1602181302"},{"product_id":"mike-hanapi-with-kalamas-quartet","title":"Mike Hanapi - With Kalama's Quartet","description":"\u003cspan data-mce-fragment=\"1\"\u003eMike Hanapi was a brilliant steel guitarist and vocalist from Honolulu, whose recordings with Kalama’s Quartet and the Ilima Islanders remain among the highest peaks of 20th century Hawaiian music. Hanapi’s gorgeous falsetto voice is backed by lush harmony vocals, like a lonesome yodel floating above an oceanside choir. The purely acoustic instrumentation of lap steel guitars, ukeleles and harp-guitars weaves gently in and out of the vocal melodies, creating\u003c\/span\u003e\u003cspan class=\"break\" data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003efluid and harmonious layers and achingly beautiful blue notes. While past reissues of Hawaiian music from this era have focused on “hot” and up-tempo material, this compilation is entirely dedicated to the peaceful, deeply emotional and lilting style in which Mike Hanapi and Kalama’s Quartet excelled. Most of these songs have never been reissued on any format, and have been remastered from original 78 rpm discs by Tim Stollenwerk, with beautiful clarity and presence. 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Produced by Shankar's longtime friend and collaborator, Dark Horse founder George Harrison, the acclaimed collection will be available on 2x12\" LP 180-gram red vinyl, housed in a gatefold sleeve with an exclusive 12\"x12\" photo print. Limited to 3,000 in North America, CHANTS OF INDIA arrives Saturday, April 18 as a Record Store Day exclusive release. Recorded in the south Indian city of Chennai - then known as Madras - as well as Friar Park, Harrison's home in Henley-on-Thames, Oxfordshire, CHANTS OF INDIA marked a landmark departure for Shankar. Though of course known around the world for his extraordinary work in Hindustani classical music, the album sees Shankar creating a collection of traditional Vedic and other Hindu sacred prayers set to music, offering his hope for peace and harmony among nature and all creatures. The renowned sitar master is joined by a number of leading Indian musicians, performing on such traditional instruments such as tabla, santoor, veena, bansuri flute, tanpura, and mridangam, as well as violin, cello, and harp, with his daughter, Anoushka Shankar, conducting and Harrison contributing at Shankar's personal request on acoustic guitar, autoharp, bass, vibraphone, marimba, glockenspiel, and backing vocals. Released on CD in 1997, CHANTS OF INDIA proved both a popular and critical success, reaching #3 on Billboard's \"Top World Music Albums\" amidst wide-ranging international applause. Entertainment Weekly's Josef Woodard awarded the album an \"A-,\" hailing it as an \"enchanting set of Indian music based on prayers and chants...Unlike Shankar's classical raga recordings, CHANTS OF INDIA is a set of short, colorfully arranged pieces, enjoyable for neophytes and devotees alike. Another jewel from a humble world-music superstar.\" CHANTS OF INDIA \"utilizes Western instruments, classical this time, creating a sound that's akin to 'Within You, Without You' on SGT. PEPPER,\" wrote Goldmine's Gillian Gaar. \"Because of the nature of the material - prayers to God - the emphasis is on the vocals, not the instrumentation, which makes this album especially soothing and relaxing.\" Indeed, NPR Classical has named CHANTS OF INDIA as one of \"5 Essential Ravi Shankar Recordings,\" writing, \"This is a very different kind of Ravi Shankar project, produced by George Harrison in 1997. Shankar took Hindu prayers, mantras and scriptural texts and framed them within larger musical settings, incorporating both Indian and European instruments along with voices. The results are transporting - and very beautiful.\" The Record Store Day exclusive release of CHANTS OF INDIA follows the recent announcement of a new multi-faceted global partnership between BMG and Dark Horse Records, the new imprint led by Dhani Harrison and manager David Zonshine. The agreement will see an array of releases from the legendary Dark Horse label's acclaimed catalog, as well as from George Harrison's Indian label imprint, HariSongs, and the Joe Strummer solo catalog, including his work with The Mescaleros.","brand":"ALLIANCE","offers":[{"title":"Default Title","offer_id":37505718943913,"sku":"","price":50.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/R-900102-1477479543-5662_jpeg.jpg?v=1605038386"},{"product_id":"sinn-sisamouth-groove-club-vol-4-sinn-sisamouth-vol-1","title":"Sinn Sisamouth - Groove Club Vol. 4: Sinn Sisamouth Vol. 1","description":"\u003cspan data-mce-fragment=\"1\"\u003eThe first official reissue—or in most cases, re-release of any kind—of these recordings since their initial release as singles. 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Its pocket cassette players, bleeping video games, and gleaming cars boomed worldwide, wooing pleasure points and pumping Japanese pockets full of yen.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eJapan’s financial buoyancy also permeated its popular culture, birthing an audio analog called City Pop. This new sound arose in the mid ’70s and ruled through the ’80s, channeling the country’s contemporary psyche. It was sophisticated music mirroring Japan’s punch-drunk prosperity. City Pop epitomized the era, providing a soundtrack for emerging urbanites. An optimistic spirit buzzed through the music in neon-bathed, gauzy tableaus coated with groove-heavy strokes.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003ePacific Breeze\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis an expertly compiled collection of choice cuts that range from silky smooth grooves to innovative techno pop bangers and everything in between. Long-revered by crate diggers and adventurous music heads, this music has never been released outside of Japan until now. Including key artists like Taeko Ohnuki and Minako Yoshida, as well as cult favorites Hitomi Tohyama and Hiroshi Sato, the long-awaited release also features newly commissioned cover painting by Tokyo-based artist Hiroshi Nagai, whose iconic images of resort living have graced the covers of many classic City Pop albums of the 1980s.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMany of the key City Pop players evolved from the Japanese New Music scene of the early ’70s, as heard on Light In The Attic’s acclaimed\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eEven a Tree Can Shed Tears: Japanese Folk \u0026amp; Rock 1969-1973\u003c\/em\u003e, the first release of the ongoing Japan Archival Series. In fact, you could say City Pop set sail with a champagne smash from Happy End, the freakishly talented subversives who included amongst their ranks Haruomi Hosono and Shigeru Suzuki, both featured on this compilation. As Michael K. 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Winqvist returned to Sweden, trading recordings back and forth over WhatsApp with Senegal based collaborator and studio engineer Arouna Kane.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"st__content-block st__content-block--text\" data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eYaral Sa Doom\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis a Wolof phrase that means “educate the young.” Central to the album is this theme of education, with songs that directly address social issues facing contemporary Senegal, education, and immigration. \"Today you must educate children with an instrument and art, when you teach them an instrument you teach them to use their spirit,\" says Djiby Ly. With over 20 contributing performers from Senegal and Sweden, Wau Wau Collectif’s debut is layered and complex, yet maintains a central vision. “It’s like diving into the sea,” explains Kane. “There are all different species of fish swimming around, but together they make the ocean.” Nonetheless, it's also a geographic anomaly, made possible only by exchange of the internet age. 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