Originally self-released in 1993 by Peter Mekwunye as a small-run cassette, soon after his arrival in the US from Nigeria. Moody, personal, moving, freeform afro-pop, or DIY soul, using just a Casio keyboard and a microphone, with a rawly naked message of love, struggle, spirituality and hope, ‘dedicated to all Nigerians all over the world, and to all freedom fighters around the world.’ Strange — a bit like eavesdropping on someone talking to himself — and warmly recommended.
We got these from Mississippi.

The full Analog Africa treatment at last for the star of their Legends of Benin compilation, back in 2009. A thrilling, utterly unique blend of Agbadja, Cuban fon, jerk, highlife, and other African rhythms, sung in Fon, Mina, Yoruba, French, English, and Spanish,
Warmly recommended.

Sensational fusion of modal jazz and flamenco, with members of Tete Montoliu’s group, and the mighty Paco DeLucia, dazzling on electric guitar. Hotly recommended.

No-shame housey Tsonga-disco and hands-in-the-air rave banged out on Korgs and Ataris in 1994 South Africa. It sold tons, rocking stadiums from Liberia and Sierra Leone to Namibia and Mozambique.

Legendary, occult musical reverie about the I Ching, psychedelically loaded with fuzz guitars, dirty percussion, Echoplex delay, and Ingmar Bergman, concocted by Italian artist Roberto Campadello and Brazilian guitarist Luis Carlini, leader of Rita Lee’s band Tutti Frutti. Originally released as a 10” in 1975, boxed with a game, candles and a magic mirror; now remastered from the original tapes, adding two tracks from a cassette-only release on the side. With a 24-page booklet containing rare graphics, photos, press clippings and Campadello’s artworks, besides extensive notes (including information about the celebrated Persona Bar which Campadello and Carmen Flores ran in the late 70s in São Paulo’s Bixiga neighbourhood); and the LP with the iconic cover as a poster.

A compilation inspired by the fabulous sound-system, record-collecting culture of the northern cities of Cartagena and Barranquilla, where ricocheting champeta, highlife, soukous, mbaqanga, zouk, soca, and cumbia blare through stacks of hand-painted speakers, in street-corner, neighbourhood bailes.

Lovely, hypnotic, rocking peulh music from Dilly commune, Mali, near the border with Mauritania (and the same family grouping as the celebrated singer Inna Baba Coulibaly). Duelling ngonis, calabash, flute, dashes of electric guitar; newly recorded.

Classic big-band Puente from 1962, including the indomitable scorcher Oye Como Va.

Thrilling, stylish Afro-Cuban jazz — heavy on horns and percussion — featuring interpretations of Lush Life, Take Five, and Lullaby of Birdland (with composer George Shearing sitting in).

Jamming selection of route-one party-starters, 1979-1985.
Rollicking, cosmic good vibes.

‘One of the greatest, heaviest, and most sought-after guitar records from 1970s West Africa.’

‘Bamako, Mali, 1973: Rail Band, the official orchestra of the Malian state railway, drops their self-titled LP. It’s a relentlessly soulful and hypnotic blend of American funk, jazz horns, and Afro-Cuban music, steeped in centuries-old Mandé tradition.
Led by legendary trumpet and saxman Tidiani Koné and held aloft by the intricate web of Djelimady Tounkara’s reverb-soaked guitar, the Rail Band’s sprawling compositions embody West African storytelling traditions while exulting in the technology and modernity of a newly independent Mali. Vocalists Salif Keita and Mory Kanté are endlessly emotive, oscillating between silky ballads and funk screams. The band’s sound is filled out by layers of percussion, rolling guitars, and melodic horns filtered through the Caribbean.
‘Starting in 1970, the Rail Band played five nights a week, from 2 pm til the early hours, at the Buffet Hotel de la Gare. Their audience was an international array of businessmen, young partiers, and people of the Bamako night. The band was incredibly versatile, switching genres, rhythms, and styles to meet their crowd. It was a volatile mix, which would fall apart soon after these recordings were made. Here it is, one of the greatest bands to ever exist, at the height of its creative powers.’

‘Fourteen tracks of irresistible psych-spiked cumbia and Link Wray guitar from the edge of the Peruvian jungle’ (Uncut).
‘Rambunctious Peruvian Cumbia Amazonica … The unpredictable and unrestrained sound that locals lovingly called ‘llullampeo’ can be heard in all its glory in Gitanita’ (Sounds And Colours).