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Sunday, December 30, 2012

For your listening pleasure...

Here is a five song mix I created this morning of Psychedelic world grooves.

Get the mix right here:

Here is whats on the mix:

1. Sir Victor Uwaifo-Joromi-Dancing time No. 7

2. Musique Noise-Pas Encore-Fulmines Regularis

3. Sadistic Mika Band-Nanika Ga Umi Wo Yatte Kuru-Ongaku 70 • Vintage Psychedelia In Japan
4. Bang Chan-Những Đóm Mắt Hoả Châu (Fireballs)-Saigon Rock & Soul: Vietnamese Classic Tracks 1968-1974

5. Googoosh-Respect-Raks Raks Raks


Saturday, December 29, 2012

Global Grooves the Best of 2012 playlist

Here is the playlist from Today's edition of Global Grooves. I'm thinking that I might have to break the best of into two parts because there is a lot of stuff I didn't get to today. If any of the readers have additions to this list on this years World Music new release, please comment. I will put up a download link later as well.

A Tribe Called Red “Electric Pow Wow Drum” from A Tribe Called Red (unknown) —This week-The best of 2012
The Spy From Cairo “Taksim Square” from Arabadub (Wonderwheel Recordings 2012)
Jef Stott “Desert Dub (Jef Stott Nomadica Remix)” from Arcana (Six Degrees 2012)
Chicha Libre “Once Tejones” from Canibalismo CD ALBUM (Barbes Records 2012)
Niyaz “Parishaan” from Sumud CD ALBUM (Six Degrees 2012)
Dominico “Cine Privé” from Cine Privê (unknown)
The Bombay Royale “Mahindra Death Ride” from You Me Bullets Love (Hope Street 2012)
Baloji & Konono N°1 “Karibu Ya Bintou” from Kinshasa Succursale (Crammed Discs 2011)
Amadou & Mariam “Bagnale (feat. Abdallah Oumbadougou)” from Folila (Nonesuch 2012)
Ebo Taylor “Yaa Amponsah” from Appia Kwa Bridge (Strut Records 2012)
Sierra Leone's Refugee All Stars “Mother In Law” from Radio Salone CD ALBUM (Cumbancha 2012)
Staff Benda Bilili “Osali Mabe” from Bouger le monde ! (Crammed Discs 2012)
Balkan Beat Box “Part of the Glory” from Give CD ALBUM (Crammed Discs 2012)
Kristi Stassinopoulou “Matia San Kai Ta Dika Sou” from Greekadelia (World Music Network)
Kottarashky & The Rain Dogs “Slavyanka Blues” from Demoni (Asphalt Tango Records 2012)
Janka Nabay & the Bubu Gang “Feba” from En Yay Sah CD ALBUM (Luaka Bop 2012)
Krar Collective “Guragigna” from Ethiopia Super Krar (Riverboat 2012)
Nneka “Soul Is Heavy” (yo mama records 2011) —Nigeria
The Souljazz Orchestra “Bibinay” from SOLIDARITY CD ALBUM (Strut 2012)

Friday, December 28, 2012

Featured artist-Orchestre Poly-Rythmo de Cotonou

Orchestre Poly-Rythmo de Cotonou is arguably West Africa’s best-kept secret. Their output, both in quantity and quality, was astonishing. During several trips to Benin, Samy Ben Redjeb managed to collect roughly 500 songs which Orchestre Poly-Rythmo de Cotonou had recorded between 1970 and 1983.

The cultural and spiritual riches of traditional Beninese music had an immense impact on the sound of Benin’s modern music. Benin is the birthplace of Vodun (also Vodoun, or, as it is known in the West, Voodoo), a religion which involves the worship of some 250 sacred divinities. The rituals used to pay tributes to those divinities are always backed by music. The majority of the complex poly-rhythms of the vodun are still more or less secret and difficult to decipher, even for an accomplished musician. Anthropologists and ethnomusicologists agree that this religion constitutes the principal “cultural bridge” between Africa and all its Diasporas of the New World and in a reflection of the power and influence of these sounds many of the complex rhythms were to have a profound impact on the other side of the Atlantic on rhythms as popular as Blues, Jazz, Cuban and Brazilian music.

Two Vodun rhythms dominate the music of Orchestre Poly-Rythmo: Sato, an amazing, energetic rhythm performed using an immense vertical drum, and Sakpata, a rhythm dedicated to the divinity who protects people from smallpox. Both rhythms are represented here mixed in with Funk, Soul, Crazy organ sounds and Psychedelic guitar riffs. Bandleader Melome Clement explains: “Sato is a traditional rhythm derived from Vodun. It is used in Benin during annual rituals in memory of the dead; you can’t just play Sato at any given time. Sato is also the name of a drum which is used during the ceremonies. It’s huge: about 175 centimeters high. The drummers, armed with sticks, dance around it and hit it all at the same time. It’s very coordinated. The Sato drummers are backed by an orchestra of smaller drums and shakers. We also did some modern versions of a Vodun rhythm called Sakpata. ‘Mi Ni Non Kpo’ and ‘Houi Djein Na Da’ are Sakpatas, which in Fon means “god of the Earth”.

None of these tracks (except one –Mawa Mon Nou Mio) has been distributed outside Benin before. These obscure coastal labels had a small distribution range, that barely reached beyond the outskirts of Cotonou or Porto Novo. Because of financial considerations most, if not all, of these recordings had very limited pressings that rarely exceeded one thousand copies total and many labels rarely produced more than 500 copies of any given record.
The music in this compilation is not only extremely rare, but illustrates how Orchestre Poly-Rhythmo with the support of a number of local record labels, thrived by mixing the coolest parts of funk, soul, latin and vodun rhythms into a new sound that not only reflected the musical culture and heritage of Benin, but also transformed it and turned the small country into such an incredible musical melting pot.

In the 44-page booklet, full of rare photographs and record covers, Analog Africa introduces three important producers who were collectively responsible for some of the most amazing music released in Benin: Gratien K. Aissy of the Echos Sonores du Dahomey label, Bernard Dohounzo of Disques Tropiques, Lawani Affissoulayi of Aux Ecoutes (the label behind El Rego & Ses Commandos’s fame) as well as en encounter in Niamey with Honliasso Barnabé, Poly-Rythmo´s Producer in Niger. Samy Ben Redjeb also interviewed Vincent Ahehehinnou, the man responsible for composing some of the funkiest stuff ever to come out of Benin, and Kineffo Michel, the sound engineer of Poly-Rythmo’s legendary Nagra “home” recordings.

Monday, December 24, 2012

Playlist from Saturday 12/22/12

Yoshida Brothers “END OF THE WORLD” from PRISM (Domo Records 2009)
Los Fulanos “The End Of The World (Radio Edit)” from The End Of The World (Radio Edit) - Single (Lovemonk 2012)
Blo “Chant To Mother Earth” from Nigeria 70 - Original Afro Classics (Strut Records 2009)
Brownout “STORMY WEATHER” from Oozy CD ALBUM (Nat Geo 2012)
The Idan Raichel Project “Blessings for the New Year” from The Idan Raichel Project (World Music Network 2006)
Juan Oñatibia “Christmas Song: Oi, Betlhem!” from Songs and Dances of the Basque (Euzkadi) (Folkways Records 1954)
Babatunde Olatunji “Odun De! Odun De! (Happy New Year)” from Drums of Passion (Columbia/Legacy 1959)
Les Kilimambogo Brothers “Christmas Day Parts 1 & 2” from Les Kilimambogo LES 16 (unknown)
Gnonnas Pedro et ses Dadjes “Dadje Von O Von Non” from Legends of Benin CD COMP (Analog Africa 2009)
El Rego et ses Commandos “E Nan Mian Nuku” from Legends of Benin (Analog Africa 2009)

Tuesday, December 11, 2012

Ravi Shankar dies at 92,0,2682331.story

It was learned tonight that Ravi Shankar has passed away at the age of 92. This is a sad day for world music. Full story below from the LA Times.

"Ravi Shankar, the revered master of the sitar who introduced Indian music to much of the Western world, died Tuesday in San Diego County. He was 92.
Shankar was a hippie musical icon of the 1960s, playing at Woodstock and hobnobbing with The Beatles.
In 1966 the Indian musician met Beatle George Harrison, who became his most famous disciple and gave the musician-composer unexpected pop-culture cachet. Harrison labeled Shankar "the godfather of world music."
Shankar continued to give virtuoso performances into his 90s, including one in 2011 at Walt Disney Concert Hall.
In New Delhi, the Inidan prime minister's office confirmed Shankar's death and called him a “national treasure.”

The sitarist also pioneered the concept of the rock benefit with the 1971 Concert For Bangladesh. To later generations, he was known as the estranged father of popular American singer Norah Jones.

Shankar collaborated with Harrison, violinist Yehudi Menuhin and jazz saxophonist John Coltrane as he worked to bridge the musical gap between the West and East.
Describing an early Shankar tour in 1957, Time magazine said “U.S. audiences were receptive but occasionally puzzled.”

His close relationship with Harrison, the Beatles lead guitarist, shot Shankar to global stardom in the 1960s.

Harrison had grown fascinated with the sitar, a long necked, string instrument that uses a bulbous gourd for its resonating chamber and resembles a giant lute. He played the instrument, with a Western tuning, on the song “Norwegian Wood,” but soon sought out Shankar, already a musical icon in India, to teach him to play it properly.

The pair spent weeks together, starting the lessons at Harrison's house in England and then moving to a houseboat in Kashmir and later to California.

Gaining confidence with the complex instrument, Harrison recorded the Indian-inspired song “Within You Without You” on the Beatles' “Sgt. Pepper's Lonely Hearts Club Band,” helping spark the raga-rock phase of 60s music and drawing increasing attention to Shankar and his work.

Shankar's popularity exploded, and he soon found himself playing on bills with some of the top rock musicians of the era. He played a four-hour set at the Monterey Pop Festival and the opening day of Woodstock.

Though the audience for his music had hugely expanded, Shankar, a serious, disciplined traditionalist who had played Carnegie Hall, chafed against the drug use and rebelliousness of the hippie culture.

“I was shocked to see people dressing so flamboyantly. They were all stoned. To me, it was a new world,” Shankar told Rolling Stone of the Monterey festival.

While he enjoyed Otis Redding and the Mamas and the Papas at the festival, he was horrified when Jimi Hendrix lit his guitar on fire.

“That was too much for me. In our culture, we have such respect for musical instruments, they are like part of God,” he said.

In 1971, moved by the plight of millions of refugees fleeing into India to escape the war in Bangladesh, Shankar reached out to Harrison to see what they could do to help.

In what Shankar later described as “one of the most moving and intense musical experiences of the century,” the pair organized two benefit concerts at Madison Square Garden that included Eric Clapton, Bob Dylan and Ringo Starr.

The concert, which spawned an album and a film, raised millions of dollars for UNICEF and inspired other rock benefits, including the 1985 Live Aid concert to raise funds for famine relief in Ethiopia and the 2010 Hope For Haiti Now telethon.

Ravindra Shankar Chowdhury was born April 7, 1920, in the Indian city of Varanasi.

At the age of 10, he moved to Paris to join the world famous dance troupe of his brother Uday. Over the next eight years, Shankar traveled with the troupe across Europe, America and Asia, and later credited his early immersion in foreign cultures with making him such an effective ambassador for Indian music.

During one tour, renowned musician Baba Allaudin Khan joined the troupe, took Shankar under his wing and eventually became his teacher through 7 1/2 years of isolated, rigorous study of the sitar.

“Khan told me you have to leave everything else and do one thing properly,” Shankar told The Associated Press.

In the 1950s, Shankar began gaining fame throughout India. He held the influential position of music director for All India Radio in New Delhi and wrote the scores for several popular films. He began writing compositions for orchestras, blending clarinets and other foreign instruments into traditional Indian music.

And he became a de facto tutor for Westerners fascinated by India's musical traditions.

He gave lessons to Coltrane, who named his son Ravi in Shankar's honor, and became close friends with Menuhin, recording the acclaimed “West Meets East” album with him. He also collaborated with flutist Jean Pierre Rampal, composer Philip Glass and conductors Andre Previn and Zubin Mehta.

“Any player on any instrument with any ears would be deeply moved by Ravi Shankar. If you love music, it would be impossible not to be,” singer David Crosby, whose band The Byrds was inspired by Shankar's music, said in the book “The Dawn of Indian Music in the West: Bhairavi.”

Shankar's personal life, however, was more complex.

His 1941 marriage to Baba Allaudin Khan's daughter, Annapurna Devi, ended in divorce. Though he had a decades-long relationship with dancer Kamala Shastri that ended in 1981, he had relationships with several other women in the 1970s.

In 1979, he fathered Norah Jones with New York concert promoter Sue Jones, and in 1981, Sukanya Rajan, who played the tanpura at his concerts, gave birth to his daughter Anoushka.

He grew estranged from Sue Jones in the 80s and didn't see Norah for a decade, though they later re-established contact.

He married Rajan in 1989 and trained young Anoushka as his heir on the sitar. In recent years, father and daughter toured the world together.

When Jones shot to stardom and won five Grammy awards in 2003, Anoushka Shankar was nominated for a Grammy of her own.

Shankar, himself, has won three Grammy awards and was nominated for an Oscar for his musical score for the movie “Gandhi.”

Despite his fame, numerous albums and decades of world tours, Shankar's music remained a riddle to many Western ears.

Shankar was amused after he and colleague Ustad Ali Akbar Khan were greeted with admiring applause when they opened the Concert for Bangladesh by twanging their sitar and sarod for a minute and a half.

“If you like our tuning so much, I hope you will enjoy the playing more,” he told the confused crowd, and then launched into his set.

Saturday, December 8, 2012

This weeks Global Groove playlist

Fanga & Maalem Abdallah Guinea “Kelen” from Fangnawa Experience (Strut 2012) —Brand new music from Morroco and west African fusion
Amadou & Mariam “Wily Kataso (feat. Tunde & Kyp of TV On The Radio)” from Folila (Nonesuch 2012) —Music from Mali, nominated for Best World Music album for this years Grammy's.
Kiran Ahluwalia “Mustt Mustt (Extended)” from Aam Zameen: Common Ground ((RED) Avokado Artists Recordings 2011) —India/Mali/Canada
Ike Reiko “天使になれない” from You, Baby (Bamboo 2010) —Japanese psych lounge
The Apryl Fool “The Lost Mother Land - Pt. 1” from Apryl Fool (Digitally Remastered) (TTW 1969) —Japanese Hard Psychedelia
Tueanchai Khwanchit “Mia Thahan Phan Suek (Veteran’s Wife)” from Luk Thung: Classic & Obscure 78s from the Thai Countryside (Dust-to-Digital 2011) —Molan Country grooves
Carol Kim “Nua Dem Ngoai Pho” from Saigon Rock and Soul Vietnam 1968-72 (Lang Van Inc. 2001)
Jung Hyun “나 하나만의 당신 (Instrumental)” from 도대체 왜 - 삐에로 (Kapp 2012) —Korean A2 mind bending psych
Ros Sereysothea “Flowers In The Pond” from Dengue Fever presents Electric Cambodia (unknown) —Cambodia
Ilaiyaraaja featuring S. Janaki “Ponnana Neram (Ilaiyaraaja featuring S. Janaki)” from Solla Solla (Finders Keepers Records 2011)
Trubrot “I Forleikur” from Lifun (unknown) —Oscure Iceland underground psychedelic
Trubrot “II Forleikur” from Lifun (unknown)
Los Wembler's De Iquitos “La Danza del Petrolero” from The Roots of Chicha 2 (Crammed Discs 2010) —Peru
Hossam Ramzy “Fallahi” from Rhythms of the Nile (ARC 1997)
Nzimande All Stars “Asihambe Sithandwa No.1+2” from DiscoSoulJive - Vol.2 (unknown)
Tinariwen “Oualahila Ar Tesninam” from Amassakoul CD ALBUM (IRL 2003)
Baka Beyond “Booma Lena” from The Meeting Pool CD ALBUM (unknown 1995) —Cameroon

Download last weeks Global Grooves

Last weeks Global Grooves for download:
Music this week from Souljazz Orchestra, Nusrat Fateh Ali Khan, Natacha Atlas, Yat-Kha, Musafir, Femi Kuti, and of course some mind-bending Global Psychedelic grooves from all over. Enjoy and tune in on and locally at 89.9 fm KRBX and 93.5 downtown.

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The Souljazz Orchestra “Serve & Protect” from SOLIDARITY CD ALBUM (Strut 2012) —Remixed single

Empresarios “El Sonido Magico” from El Sonido Mágico (Fort Knox Recordings 2012) —This weeks Global hit of the week

Mai Le Huyen “Hat Lam Quen” from Linh Ma Em (Lang Van Inc. 1992) —Vietnamese Rock 1968-74

Fun-Da-Mental “Ja Sha Taan (Karachi Deathcult Mix By Transglobal Underground)” from Insurgent Remixes (Nation 2012) —Bengali fusion


Nusrat Fateh Ali Khan “Nitin Sawhney (Tracery Remix)” from Star Rise (Six Degrees)


Natacha Atlas “Omri Coulu Leek” from Best of Natacha Atlas (Mantra Recordings 2005)

Yat-Kha “Dyngyldai [Transglobal Underground Remix]” SINGLE (unknown) —Tuvan punk

Musafir “Ali Mullah (feat. Transglobal Underground and Natacha Atlas)” from Globetrotter Sounds: The Oriental World (Hurt Recordings 2009)

Katia B “Viajei” from Espacial (MCD 2007) —Brazilian Grooves

Belladonna “Ebatule” from Sister Bossa, Vol.4 (IRMA Records 2003)

Tinariwen “Le Chant Des Fauves” from The Radio Tisdas Sessions (Wayward/IRL 2001)

Amadou & Mariam “Dougou Badia” from Folila (Nonesuch 2012)

Femi Kuti “Victim of Life” from shoki shoki (Universal Music Division Barclay 1998)

Ali Farka Toure “Amandrai - Live” from Ali Farka Toure (Sonodisc 1979)


Toumani Diabaté “Ismael Drame” from The Mandé Variations CD ALBUM (Nonesuch 2008)