02-04-2020 > WORLD:MUSiC:MiX # 33 selected ETHNiC FUSiON tracks 1988-1977 # WmW

02-04-2020  > WORLD:MUSiC:MiX # 33 selected ETHNiC FUSiON tracks 1988-1977 # WmW:   Los Lobos, Pata Negra, Issa Juma And Super Wanyika Stars, Dead Can Dance, Lizzy Mercier Descloux, Richard Thompson, Lô Borges, Richard Horowitz, Amara Toure, Linton Kwesi Johnson, Silvio Rodríguez, Hailu Mergia and The Walias

M  U  S  I  C / WmW

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1988-1977

East L.A. barrio band that draws gracefully from rock, Tex-Mex, country, folk, R&B, blues, and traditional Spanish and Mexican music.
Los Lobos
Estoy Sentado Aquí (Cesar Rosas) 2:28
La Pistola y el Corazón (David Hidalgo / Louie Pérez) 3:27
from La pistola y el corazón 1988
Los Lobos used the commercial breakthrough represented by La Bamba to turn to their first love, Mexican folk music, and recorded this excellent collection of norteño songs. If this is a band that seems to do too many things well, in a sense they are at their best when they narrow their focus, and they are certainly masters of their style here.

Pata Negra (literally, Black Leg, which is the best cut of ham in Spain) was formed in the 1980s by brothers Raimundo and Rafael Amador. Combining flamenco with amplified blues guitar, they scored their first hit with the EP Guitarras Callajeras and then again with Blues de la Frontera. The band has broken up and regrouped several times following musical differences between Raimundo and Rafael.
Pata Negra
Bodas de Sangre (Rafael Amador / Federico García Lorca) 3:04
Pasa la Vida (Romero San Juan / Garrido Lopez) 3:51
Blues de la Frontera (Rafael Amador / Raimundo Amador) 4:13
from Blues de la frontera 1987
Flamenco is both a romantic, alluring music and a dynamic, aggressive one, particularly when played and sung by masters of the idiom. Rafael and Raimundo Amador are contemporary players who understand this dualism, and illuminated it through all nine selections. Raimundo Amador provided punch on electric and flamenco guitar and bass, while Rafael sang with both lightness and spark and answered his brother's flashy chords and passages with equally hot, sensual lines and phrases.

Adamu and Abbu are the guitarists featured on most of the tracks on World Defeats the Grandfathers, a compilation of recordings made between 1982 and 1986 by Issa Juma, a Tanzania-born vocalist and bandleader who became a star in Kenya. Juma, a key figure in the creation of Kenyan Swahili rumba, scored numerous hits with the band Les Wanyika. After leaving the band in the early 80s, he led a number of successful ensembles, all with some variation of Wanyika in their names - Wanyika Stars, Super Wanyika Stars, Waanyika, Wanyika Super Les Les.
Whatever the band name, Issa Juma stretched the boundaries of Swahili rumba, adding Congolese flavor and elements of Kenyan benga to the mix. Still, the tracks collected on this delightfully, if puzzlingly titled collection, don't vary greatly in format or style, despite having been recorded in five different sessions with varying personnel. The sound is rhythmically supple, guitar-driven, and relaxed; every track runs eight to nine minutes, giving the players generous (and sometimes excessive) space to stretch out.
Issa Juma And Super Wanyika Stars
Barua [The Letter] 8:34
Mwanaidi 8:51
from World Defeats the Grandfathers / Swinging Swahili Rumba 1982 - 1986
2010 release. Wanyika is Swahili for "wild ones," and it's a fitting moniker for the various related Wanyika bands that dominated the nightclubs, recording studios and radio waves of Nairobi, Kenya, from the early 1970s into the 90s. The Wanyika bands defined Swahili rumba, the dance music popular throughout East Africa: swinging rhythms, ringing electric guitars and strong, earthy vocals. Issa Juma was one of the founders of the Wanyika dynasty and, with his powerful baritone and rhythmic phrasing, the most distinctive of its singers. (His voice has been likened to that of the Jamaican reggae singer Toots Hibbert of Toots & the Maytals.) A prominent member of Simba Wanyika and then Les Wanyika, Juma formed his own Super Wanyika Stars in the early '80s and produced hit after hit until an untimely stroke ended his career in 1988. World Defeats the Grandfathers collects the biggest and best of these hits in one rollicking CD that brings the sound of "the wild ones" to America for the first time.

Dead Can Dance combine elements of European folk music, particularly music from the Middle Ages and the Renaissance, with ambient pop and worldbeat flourishes.
Dead Can Dance
De Profundis (Out of the Depths of Sorrow) (Dead Can Dance) 3:58
Mesmerism (Dead Can Dance) 3:52
Circumradiant Dawn (Dead Can Dance) 3:17
from Spleen And Ideal 1985
With this amazing album, Dead Can Dance fully took the plunge into the heady mix of musical traditions that would come to define its sound and style for the remainder of its career. The straightforward goth affectations are exchanged for a sonic palette and range of imagination. Calling it "haunting" and "atmospheric" barely scratches even the initial surface of the album's power. The common identification of the duo with a consciously medieval European sound starts here -- quite understandable, when one considers the mystic titles of songs, references to Latin, choirs, and other touches that make the album sound like it was recorded in an immense cathedral.

19-02-2020 > WORLD:MUSiC:MiX # 33 selected ETHNiC FUSiON tracks 1996-1984

AFRICANDO

19-02-2020 > WORLD:MUSiC:MiX # 33 selected ETHNiC FUSiON tracks 1996-1984 # WmW:   Africando, The Klezmatics, Danyel Waro, Mahotella Queens, Strunz & Farah, Oliver Mtukudzi, Rabih Abou-Khalil, Astor Piazzolla, Los Lobos, Pata Negra, Issa Juma And Super Wanyika Stars, Dead Can Dance, Lizzy Mercier Descloux

M  U  S  I  C / WmW

if you want excitement PRESS SHUFFLE!

LISTEN THE PLAYLIST ON DEEZER.COM

1996-1984

Africando represents a cross-cultural collaboration between top-ranked, New York-based, Latin musicians and African vocalists. 
Africando
Gombo (Boncana Maïga / Nicholas Menheim) 5:10
Diaraf 5:37
from Gombo Salsa 1996
On Gombo Salsa, Africando moves into even higher and hotter musical territory. The band continues to polish its radiant mixture of classic mambos, sones, boleros, and cha-chas. However, on this album listeners do not hear the voice of Pape Seck. He died unexpectedly in 1995 before the release of their second album. His raspy, gritty voice will never be forgotten by all music lovers the world over. His phrasing and timing, combined with an earthy, sensual feel, place him among the immortals. With his irreplaceable loss, Africando decided to employ other great soneros from Africa and Cuba. The result is the strong vocal front line of Medoune Diallo, Nicholas Menheim, and Ronnie Baro. Bolstering this lineup is the venerable veteran Gnonnas Pedro from Benin, who assures listeners that in the music lies the truth...

Inimitable N.Y.C. band blends klezmer music and socially conscious lyrics with contemporary rock, funk, and avant-garde jazz.
The Klezmatics
Man in a Hat (The Klezmatics / David Lindsay / Traditional) 3:03
Khsidim Tants (Traditional) 4:17
from Jews with Horns 1995
Picture the Reverend Horton Heat with a yarmulke, if you like. Or "Fiddler on the Roof" with Coltraneian complexity. Just don't expect somber religious music. The Klezmatics' brand of Jewish klezmer is as spirited as it is spiritual. The fast numbers, which dominate their third album, are frenzied celebratory drinking songs -- a true revival of the community spirit which spawned this eastern European brand of folk music. All that happiness poses a sequencing challenge: Where do you put the few downbeat stylistic diversions (a Yiddish labor song from 1889; a thunderously moving, jazzy clarinet improvisation; an eerie poem with a classical arrangement)? Jews With Horns suffers a little for hiding most of its variety at the end of the album. But that's a quibble in the face of such top-notch musicianship...

Danyel Waro was born and raised at the Ile de la Réunion, a French territory in the Indian Ocean east of Madagascar. A descendant of French colonists, he is the most renowned proponent of the Maloya, a compound rhythm which had its origin in chants of enslaved workers on the sugar cane plantations, a sort of "blues à la Réunion." Maloya is seen as a strong force of Réunion identity and was at times even banned by the French authorities governing the island. Whereas the archaic Maloya consisted first of all chants sung over traditional percussion instruments, Waro must be credited with having expanded the Maloya style to transport a message and through his performances, music, and lyrics, live up to a new unity. 
Danyel Waro ‎
Batarsité 8:05
Tikok 7:15
from Batarsité 1994
...WARO was born in Le Tampon on the southern slopes of the volcano that forms the island of Réunion and exemplifies the island’s heritage as someone who is of mixed race having been descended from both colonists and slaves. Having grown up in the most primitive conditions with no running water, no electricity and subjected to a hard life of eking out a living from the land, the lack of luxuries left its toll on WARO’s psyche which has forever connected him to the land and the plight of a colonized island that still suffers from the ramifications of the historical injustices. These traditional musical forms have been used as a political weapon to sharpen the psyche and instill a sense of pride amongst the people who have suffered from the fervent,  even militant dominion of France’s iron fist throughout the centuries....

The Queens, often heard in concert and on record with deep-voiced "groaner" Simon Mahlathini, represent the South African township style with absolute perfection. Established in 1964 as a session harmony group, they came to prominence in the '70s with their tough vocal style and rock-solid mbaqanga backing band.
Mahotella Queens
Women of the World (Eileen Butler / Mike Pilot) 3:01
Africa (Allan Schlosberg) 4:28
from Women of the World 1993
Although usually heard backing the groans and surging vocals of Mahlathini, the Mahotella Queens can certainly perform on their own. A working unit since 1964, they show on this new release that their harmonies and leads deserve attention on their own. There are celebratory praise songs such as "Africa" and the title track...

15-05-2019 * WORLD:MUSiC:MiX # 33 selected ETHNiC FUSiON tracks # WmW

Buda Folk Band

15-05-2019 * WORLD:MUSiC:MiX # 33 selected ETHNiC FUSiON tracks # WmW    Buda Folk Band, Estusha, Kandia Kouyate, Las Hermanas Caronni, Maria Arnal i Marcel Bagés, Dead Can Dance, Kronos Quartet, Marjan Vahdat, Mahsa Vahdat, Combo Chimbita, Femi Kuti, Warsaw Village Band, Lajkó Félix

M  U  S  I  C / WmW

LISTEN THE PLAYLIST ON DEEZER.COM

This music, to wich you can dance to, is played on instruments mainly used in the Carpathian Basin and is drawn from authentic sources. Taking the original melody as a template, their music retains the phraseology so characteristic of the Hungarian folklore tradition.
Buda Folk Band
Repülés / Flying 3:09
Várj meg / Wait For Me 2:50
Erdö / Forest 3:59
Elindultam / I Left My Homeland 2:29
from Saját gyűjtés / Own Collection Work 2015
We, Hungarians, with the appearance of the first audio recording devices have always been at the forefront in folk music collection; collecting our folk music traditions. In order to find our way in this music, it is essential that we get acquainted with it in contemporary peasant communities.  Folk music played in the village arrives in a city environment on recordings from collection work; it creates its own survival and awakens new musical thoughts. This is the kind of music on this recording. We share memories of rural cultures, from our own collecting work - expressed in our own style.

Estusha, Mexican artist fuses her peculiar form of singing with ethnic instruments of the world and electronic music to create an ethno-electro project.
"Nature created sounds. Men imitating nature, created instruments and chants. Thousands of years later we continue to celebrate the origin of music." 
Estusha
Tihowayo 3:11
Aportua 3:44
Yahe 3:33
from Wotan 2016
Estusha's latest album “Wotan a Contemporary Ethnic Celebration” gives recognition to all her musical and life experiences, creating a fusion of sounds, instruments and ethnic chants from different cultures from the world over, electronic music, and her own unique style resulting in an exquisite contemporary ethnic celebration.

Kandia Kouyaté (also known as Kandja Kouyaté, born in 1959 in Kita, Mali) is a Malian jelimuso (a female griot) and kora player; she has earned the prestigious title of ngara, and is sometimes called La dangereuse and La grande vedette malienne. Kouyaté's dense, emotional, hypnotic manner of singing and her lyrical talents have earned huge acclaim in Mali, though she remained relatively little known outside Africa, due to extremely limited availability of her recordings. Her home town of Kita is known for love songs, which form a large part of Kouyaté's repertoire. She also sings praise songs.
Kandia Kouyate
Koala Boumba 5:45
Kassi Doundo (the Crying Rooster) 5:06
Mandjala (take Off The Headscarf!) 4:50
from Renascence 2015
...Renascence certainly rewards the long wait; it is a terrific record on all counts. The first thing longtime fans will notice is that Kouyaté's contralto has become deeper and even more powerful than when she became famous in Africa three decades ago. Kouyaté was born in 1959 in southwestern Mali. She grew up immersed in the music of her Mandé people. Her father, a well-known balafon player, saw his daughter's potential when she was a child; her mother was a singer. When she was still a schoolgirl she sang with her uncle Mady Sylla Kouyaté's band, the Apollos, in Bamako. Captivated by the Malian capital's music scene, she moved there after completing school. In Bamako, she married a prominent singer of jeliya, a traditional Mandé genre. Kouyaté studied jeliya vocal techniques and its repertoire of praise songs and historical narratives...

Smiles and Grins - NON-TYPICAL 80s MIX (part 4: 1985-1986) (53trx 3h 51m) PnM:MiX

so there are still some good trax from the 80's // azért a 80-as évekből is maradt pár jó szám :)

4. rész / Part4 (53trx 3h 51m)

Kip Hanrahan - Smiles and Grins (Vertical Currency 1985)    
Chet Baker - Candy (Candy 1985)
Roy Buchanan - Short Fuse (When A Guitar Plays The Blues 1985)

The Fall – Couldn't Get Ahead (This Nation’s Saving Grace 1985)
Nick Cave and the Bad Seeds - Tupelo (The Firstborn Is Dead 1985)
Suzanne Vega – Neighborhood Girls (Suzanne Vega (1st Album) 1985)
Hüsker Dü - Games (Flip Your Wig 1985)
Black Flag - Process Of Weeding Out (Process Of Weeding Out 1985)
Prince and The Revolution - Temptation (Around The World In A Day 1985) 

Pere Ubu - 30 Seconds Over Tokyo (Terminal Tower 1985)
The Dead Milkmen - Swordfish / Big Lizard in my Backyard (Big Lizard In My Backyard 1985)
Dinosaur Jr. - Forget the Swan (Dinosaur 1985)
Giant Sand - Torture Of Love (Valley Of Rain 1985)
The Smiths – Nowhere Fast (Meat is Murder 1985)
Tom Waits – Jockey Full of Bourbon / Gun Street Girl (Rain Dogs 1985)
Sonic Youth - Death Valley '69 (Bad Moon Rising 1985)
Dead Can Dance - The Cardinal Sin (Spleen And Ideal 1985)
Butthole Surfers - Negro Observer / Mexican Caravan (Psychic Powerless 1985)

CCCP - CCCP (1964/1985 Affinità-Divergenze fra il Compagno Togliatti e Noi – Del Conseguimento della Maggiore Età 1986)
The Golden Palominos - Strong, Simple Silences (Blast of Silence 1986)
Angelo Badalamenti - Main Title / Blue Velvet/Blue Star (Blue Velvet 1986)
The Feelies - Slipping (into something) (The Good Earth 1986)
Neil Young  - Hippie Dream (Landing On Water 1986)

The Chameleons - Swamp Thing (Strange Times 1986)
John Lee Hooker - Well Well (Jealous 1986)
James Brown - Talkin' Loud and Sayin' Nothing (In The Jungle Groove 1986)

Cowboy Junkies - Shining Moon / Me and the Devil Blues (Whites Off Earth Now!! 1986)
Miles Davis - Tutu / Full Nelson (Tutu 1986)
Talking Heads - Dream Operator (True Stories 1986)
Tom Waits - Diamonds on My Windshield / Small Change (The Asylum Years 1986)

Astor Piazzolla - Michelangelo '70 (Tango: Zero Hour 1986)
Crime & The City Solution - Untouchable (Room Of Lights 1986)
Giant Sand - All Along the Watchtower / A Hard Man to Get to Know (Ballad Of A Thin Line Man 1986)
Momus - The Day the Circus Came to Town (Circus Maximus 1986)
World Party - Ship of Fools (Private Revolution 1986)

Frank Zappa - Jazz from Hell / St. Etienne (Jazz from Hell 1986)
Nick Cave and the Bad Seeds - Hey Joe / All Tomorrow's Parties (Kicking Against the Pricks 1986)
R.E.M. - Underneath the Bunker / Just a Touch (Lifes Rich Pageant 1986)

Nick Cave and the Bad Seeds - Hard On For Love / Long Time Man (Your Funeral... My Trial 1986)
Paul Simon – Under African Skies (Graceland 1986)
The Smiths – Never Had No One Ever (The Queen is Dead 1986)




Cold Cold Ground - NON-TYPICAL 80s MIX (part 5: 1987-1988-1989)
Modern Times - NON-TYPICAL 80s MIX (part 3: 1984)
Fever - NON-TYPICAL 80s MIX (part 1: 1980-81)
Picking up After You - NON-TYPICAL 80s MIX (part 2: 1982-1983)

PLASTiC DECADE BUT... the ultimate mixtape of the NON-TYPiCAL 80s (88 songs from 80s)