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The second album by the Ghanaian superstars, from 1974, for a change mixing their hit-making high-life with traditional rhythms and folk touches, and a little funk and afrobeat.
Switzerland has four official languages and numerous dialects, and this mosaic of sounds is judiciously wide-ranging and open — starring wonderful yodelling, alphorn, Jew’s harp, zither and musette-style accordion.
Off-the-wall James Brown runnings, coming apart at the seams in Antananarivo, Madagascar, in 1967.
A Brooklyn-1973 brew of Compas — carnivalesque Haitian party music — and other Carib styles, mixed with funk, soul, psych. Treated guitars, ain’t-no-stoppin’ percussion.
Central Asian art music — derived from the Shash maqam of Bukhara — performed by the singer Jurabeg Nabiev, with the Ensemble Dorrdane.
A master of the sato (a bowed tambur or long-necked lute held vertically) joined by Tajik singer Ozoda Ashurova in this beautiful, haunting, little-known court music. Plus doyra drum and dotar lute.
Touareg rock from Bamako, in the Tinariwen manner.
Ruff, mid-seventies Nairobi funk by Tanya Ria — aka Rachel Wanjiru — and the Trippers.
Althea & Donna, Lijadu Sisters vibes.
Chimelougali is yodelling; luchenze is hooting whilst darting the tongue from side to side; kuama are trembling sounds, and rhythmic interjections. Including polyphonies, and a few with instruments.
Ligombo and nanga trough zithers, lamellophones, drumming, a flute requiem, Zanzibar grooves, a panpipe ensemble, a makondere horn band.
Six hundred Chagga singing on the slopes of Mt. Meru; one hundred Gogo on the plains near Dodoma. Funny songs by the Nyamwezi in Dar-es-Salaam; wigasha dance songs by the Sukuma near Lake Victoria; Masai chants.
Fabulous rocking Saharan trance from this band — five women and four men — formed in a refugee camp during the Tuareg uprising of the early nineteeen-nineties. Via the team behind Congotronics.
