[wellcharge]

http://rapidshare.com/files/199777921/1980_-_Jacinto_Silva_-_Passando_a_cabe_a_o_resto_passa__Forr__em_vinil_. rar

 

#01. Eu quero ver (Zanoni Vieira)
#02. Olha o urso (Jacinto Silva - Cabo França)
#03. Cata piolho (Jacinto Silva)
#04. Chorando pra voltar (Jacinto Silva - Genesio Guedes)
#05. Côco nordestino (Jacinto Silva)
#06. Terreiro em festa (Janduhy Finizola)
#07. Forró da ressaca (Juares Santiago - Adolfo da modinha)
#08. A barca virou (Jacinto Silva)
#09. Estelita (José Antonio)
#10. Forró na ribeira (João Firmino - Jacinto Silva)
#11. Cajueiro abalador (Jacinto Silva)
#12. Disse me disse (Luiz do Sinal - Jacinto Silva)

Originally Posted by fugazifan

oh yeah
here is sir richard bishops freak of arabi youtube chanel
its amazing
lots of old vintage middle eastern movies and music
http://www.youtube.com/profile?user=...view=playlists

He posts some wonderful videos on his facebook page too.

Izenzaren - Legends of Berber Music Part 1



I went to Morocco at the beginning of the year and spent a fantastic week in the mountains around Tafraout. While there I met a lovely fella called Rachid who was keen to indulge my interest in Moroccan music. He very kindly made me a cd of music by this famous group of the '60s and '70s, Izenzaren, who set radical lyrics and poetry loaded with biting social commentary to traditional Berber music. Rachid told me that this music is still very popular in the mountain regions of the country, and many young people try to emulate the group's banjo player, though he still holds the title King of the Banjo.

This is raw and hypnotic music that features some amazing banjo playing, heavy drumming and lo-fi dubbed up production. If anybody can help provide translations of song titles, lyrics or any other info about these songs, I'd be very grateful.

http://snapcrackleandpops.blogspot.c...usic-part.html

Izenzaren - Legends of Berber Music Part 2
From Azawan:

"In the field of Amazigh (Berber) music, the experience of the group Izenzarn presents certain characteristics. The emergence of this group occurred in the general context of the social changes in the post-colonial Morocco. The emigration (rural migration in the Moroccan sociological terminology) became an irreversible phenomenon. The rural society settles in the town and is confronted at the same time with the violent process of integration and assimilation and with the social problems resulting from the arbitrary management of country by the makhzenian Mafia. This situation requires the invention of new forms of poetico-musical expressions (or the adaptation of the old forms) to express at the same time the nostalgia of the origins and the anger towards the abusive policies. Also, at this times, Anglo-Saxon musical groups (such as the Beatles) as well as Moroccan groups (Nass el Ghiwan, Jil Jilala, etc.) impose their rhythms and influence the development of musical groups known as popular. Mixing modern and traditional instruments, these groups interpret songs, inspired by the ancestral tradition or expressing the current sensibilities of a generation coming from the first wave of the rural emigrants.

Founded at the end of the Sixties by a group of young people from newly urbanized families, Izenzarn is among the first Amazigh groups to modernize and radicalize the Amazigh song. After tribulations under different names, a first album is recorded in the year 1974. Thus starts the first season of the group, characterized by love songs such as: Wad ittemuddun (traveler), Wa zzin (Oh! beauty), etc, or nostalgic and traditional songs: Immi Henna (My gracious mother)... In the beginning of the Eighties, Izenzarn embraces more protesting themes: ttuzzalt (dagger), ttâbla (plate), tamurghi (grasshoppers)...

The protest in Izenzarn's songs is characterized by the challenge of the dominant speeches:

Iggut lebrîh idrus may sellan igh islêh
Plenty of speeches And yet Nobody listens to the reason
and the harsh description of the reality:

Nettghwi zun d teghwi tmmurghi gh igenwan ikk d lhif akal
We are like grasshoppers taken between the skies and the dry grounds.
This reality is a world of fear, oppression and torture [tawda gh will ugharas (fear in the paths), izîtti wuzzal (iron bars), ur nemmut ur nsul (neither alive nor dead)]

The success of the group is due to its strange musical style and the poetry of its songs that presented already at the end of the Seventies the germs of a revolution in the modern Berber poetic creation.

After a disagreement, the group had split. Two groups dispute the name: Izenzarn Iggut Abdelhadi and Izenzarn Shamkh. But, it is the first one that imposed itself due to the emblematic image of its main singer, Iggut Abdelhadi."
http://snapcrackleandpops.blogspot.c...c-part_26.html

[Everyneurotic]

Ilham Al Madfai – 4 Albums
Posted By : Terrienne | Date : 16 Feb 2009 13:29 | Comments : 5

 

Ilham Al Madfai – 4 Albums
Arabic | Iraq |523 MB | mp3 @ 192, 256 and 320 kb/s | Covers

Collection - Best of
192 Kb/s | Front & back covers | 95,4 MB
Tracks
1 - Mali Chaugal Bil soug
2 - Sharabtak El Maay
3 - Foug El Nakhal
4 - Allah Alayek
5- Il Rail We Hammad
6 - Baghdad
7 - Khuttar
8 - Chal Chal
9 - Haya Bina
10 - Katra Fe Matar
11 - Ashgar Be Shama
12 - Disaney
13 - Wain Ya Galbi
Download

Khuttar (1999)
192 Kb/s | Front & back covers | 102 MB
Tracks
01. Khuttar
02. Allah Alayk
03. Ashgar Be Shama
04. Mali Chughul Bil Soug
05. Foug El Nakhal
06. Chal Chal Alayya El Rumman
07. Qatrat El Matar
08. Sharrabtak El May
09. El Noum Muharram
10. Hayya Bina
11. The Bazrigosh Song (Hinna)
12. Gullish Maramak / Asafer Lil Hind
13. Chal Chal Alayya El Rumman (remix)
14. Farewell to the Sands (instrumental)
Part 1
Part 2

Ilham Madfaîi – Baghdad (2003)
256 Kbps | All Covers & Booklet | 160 MB
Tracks
01. Tufah (Apple)
02. Chathab (Liar)
03. Mohamad Bouya Mohamad (Dear Beloved)
04. Laila Wala Youm (No Day no Night)
05. Masaal (Honey Tobacco)
06. Ana Blayak
07. Shlonak (How Are You)
08. Win ya Galob (Oh Weep my Heart)
09. Abu Noonah (Abu Noona)
10. Mo Hiya (This is the One)
11. Eidi ya Mahbobi (It's Fiesta Habibi)
12. Maghribiah (Sunset)
13. Baghdad
Part 1
Part 2

The Voice Of Irak (2005)
320 Kb/s | All Covers & Booklet | 166 MB
Tracks
01 Chal Chal Alayea el Rumman ('Pomegranate Tree Has Smothered Me')
02 Mohamad Bouya Mohamad ('My Dear Beloved Mohamad')
03 Asghar Be Shama ('Blonde with the Beauty Spot') Izash Remix
04 Masaal ('Honeyed Tobacco')
05 Khuttar ('Visitor')
06 Chathab ('Liar')
07 Foug el Nakhal ('High Above the Palm Trees')
08 El Tufah ('Apple')
09 Allah Alayek ('God Be with You')
10 Win Ya Galob ('Oh Weep My Heart')
11 The Bazringosh Song ('Henna Plant Song')
12 Il Rail Wa Hamad ('Railway and Hamad)
13 Baghdad Tribute
14 Mawtini (Iraqi National Anthem)
Part 1
Part 2

[verme (prevaricator)]

Afghanistan: Music from Kabul

 

various artists compilation - Afghanistan: Music from Kabul

LP recorded in August 1972

Afghanistan, whose previous name was Ariyana, was so named about a century and a half ago by King Ahmad Shah. Afghanistan shares borders with China, India, Pakistan, Iran and Asiatic Russia. In ancient times these borders were crossed many times by the routes of commerce and conquest. Now Afghanistan is about to become the air route link between the western world and China. Thus Afghanistan is an important link in the chain of cultures binding Europe and Asia together.
Musically, the link can be heard by listening to pieces from various regions of Afghanistan. The western and northern music is dominated by Near Eastern or Central Asian styles, while Eastern Afghan music is heavily Hindu oriented. The musical instruments also show this interlocking of cultures.
Afghan instruments are basically simple, made up mainly of strings and drums. The string instruments most frequently used are the tanbur, a plucked, fretted lute with drone strings, the rebab, with three pairs of melody strings and ten sympathetic strings, the sarinda, a bowed, three stringed lute, and the delruba, similar in shape to the Indian sitar but smaller and bowed. The drums of Afghanistan can be divided into two groups: single membrane instruments of Persian origin with a goblet shaped body called zerbaghali, and double membrane instruments of Indian origin like the tabla, or the two-headed dhol which is an Afghan originated instrument. There is also a vertical flute with six fingerholes called the tula and the Afghan dotar, a three stringed lute which is plucked.
Afghanistan, with a total population of between 16 and 17 million, has two official languages: dari, from old Persian, and Pashtu which is an Afghan language. Around 8 to 9 million inhabitants speak Pashtu and all of the songs on this record are in the Pashtu language from the province of Nangahar which is approximately 75 miles southeast of Kabul. (from the liner notes)

Tracklisting:

SIDE 1

1. Gholam Nabi and Malang - Delruba and Zerbaghali {4:02}

2. Ustad Mohammad Omar and Ghulalahm - Rebab and Dhol {6:01}

3. Ghulam Haidar and Malang - Tula and Zerbaghali {2:11}

4. Abdul Majid and Malang - Tanbur and Zerbaghali {3:08}

5. Ustad Gholam Nabi and Mohammad Asef - Delruba and Tabla {3:26}

SIDE 2

1. Gholam Hassan and Faiyaz Mohammad - Sarinda and Dhol {3:14}

2. Kamar Gul Zakhail - Typical Love Song {5:07}

3. Kamar Gul Zakhail - Jalalabad Wedding Song {5:02}

4. Kadim and Malang - Dotar and Zerbaghali {2:03}

5. Mohammad Zakhail and Ghazi - Love Song from Nangahar part 1 {2:46}

6. Nahmattullah - Love Song from Nangahar part 2 {3:24}

(1) or (1)

[therealglenstyler]

insert joke about vampire weekend here.

[Toilet & Bowels]

what do vampire weekend have to do with this?

[therealglenstyler]

y'know, they're world music right?

[Toilet & Bowels]

are they?

[hat and bread]

The music is as awesome as the cover photo!

Ocora: Africa part 1

fact that i posted the first Ocora focus on Africa on THE HISTORIC DAY is pure coincidence. i swear it.

 

Musiques du Cameroon - Bakweri Bamileke Bamoun Beti

thanks to Op for ripping this very rare vinyl from the original Ocora catalog (never reissued on CD)

Marimba and non-melodic percussion pieces reveal intricate collideascopic latice works; chants and song whose purposes are lost to me (love? work? celebration? mourning?) tell their elegant (and to me, mysterious) tales. some selections are one or the other, some are voice with drumming combined; and flutes show up later on.

the clearly advanced yet intuitive mathematics demonstrated in some of this music is truly mind boggling. if any modern persons still (and I'm sure do) look down on this music, dismiss it as "primitive", and feel superior in relation to it, well this can only be demonstrative of his own ignorance, stupidity, and under-developed sense of beauty.

above is just my passing impression, the complete scans of the sleeves with detailed notes are included.

Mediafire: Part A, Part B
Rapidshare: Part A, Part B

Wow, that's a beautiful cover. Thank you, hoping the music within is just as good.

[hat and bread]

I'm tempted to make this my new avatar:

 

I'd rep you twice if I could, because that is an amazing picture.

[Toilet & Bowels]

ghanaian pop music from the 80s
http://www.youtube.com/watch?v=zW28iwIikq8



and the blog that i found it through
http://awesometapesfromafrica.blogspot.com/

[Glice]

http://sounds.bl.uk/

British library sound archive - they've upload absolutely masses of British Library things on there. This includes lots of world & 'ethnographic' recording, plus odds and sods of field recordings, spoken word, documentary guff etc.

[Glice]

Hmm. I'm sure I posted this earlier, but apparently the forum ate my post in its exciting purge.

Here are a series of 'World music' shows from Radio 3, each focussing on a different country. I particularly enjoyed the Azerbaijani one and am currently enjoying the Turkmenistan one. Highly recommended.

May not be available outside of the UK. You'll need Real Player installed.

[Genteel Death]

Sabahat Akkiraz & Arif Sağ - İnsana Muhabbet Duyalı
http://www.youtube.com/watch?v=j7Q3my46zp0

[Genteel Death]

Bumping this thread to say that the Radio Thailand compilation on Sublime Frequencies is one the greatest collections of music of any kind ever, that's all.

[Genteel Death]

Dusted Reviews

Artist: V/A

Album: Radio Thailand: Transmissions from the Tropical Kingdom

Label: Sublime Frequencies

Review date: Jul. 10, 2006



Let me start by saying that listening to Radio Thailand has given me more pure fun than just about any recording I can remember. In keeping with the Sublime Frequencies ethos, the 2-CD set is a dense and diverse collection of audio collages, in this case assembled from 15 years worth of broadcast gleanings from the Thai airwaves.

The pure musical variety is simply staggering to think about and utterly exhilarating to hear. Thai traditions are represented, as are a bewildering selection of hybrids, from a straight-up sax-and-piano jazz combo jamming on Siamese scales and melodies, to pulsing disco synth and horn section workouts; from country-raw khen (a bamboo and metal-reed mouth organ) over funky, popping electric bass, to odd, Up With People folk-pop ballads Theres rough and rowdy Thai rap, and a short-but-powerful segment featuring some tasty Southeast Asian electric slide guitar.

Selector/compilers Mark Gergis and Alan Bishop have done a fine job. The music comes and goes at an appealing pace: The selections are generous (many are allowed to play for their full lengths) and the ever-changing sound quality and sonic variety make for a compelling sense of vicarious dial-tuning. News broadcasts, tourist propaganda, audio dramas, even an aqua-culture report on the Thai Governments distribution of giant catfish fry are among the found-sound offerings.

At times Gergis and Bishop step up their curatorial skills into the realm of pure sound art. This is especially notable on a track entitled Tourism Past the Medium Wave, where a slick newscast and an even slicker tourism promo spot are engulfed by the pulsing and bleeping of rhythmic short-wave signal and frequency drift, until ghostly shards of music and voices eventually emerge from the ether, to entrain with and finally rise above the white noise. Its a beautiful segment, and one of the labels finer moments.

But Radio Thailand conjures up more complicated feelings than just fun and beauty. While listening, I couldnt help hoping and perhaps its the romantic in me that someone might someday hear one of the un-credited pieces here, become deeply struck by its allure, and begin their own long quest into the world of Thai music in an effort to track it down. My other thought, much more practical, is that the collector/selector/collagists themselves might provide us with some sort of index, identifying, whenever possible, artists, titles, and sources. Or maybe thats a job for future scholars

By Kevin Macneil Brown