This is a truly wonderful compilation and it’s been on constant rotation in my car, I-Pod and Pc since I got it.

Wonderful, wonderful tunes on this harking back to a golden era in Angolan music history and I simply could not recommend it highly enough.

I really wish I had more time on my hands to give it the kind of celebration it truly deserves but if you buy the whole CD, it comes with fantastic notes and so you need to get it, don’t ya,

Listen to some tunes here and then read some of the official speil:

Rei do Palhetinho – Mamukueno by Analog Africa

ILHA VIRGEN – Jovens do Prenda by Analog Africa

For its ninth release Analog Africa unearths musical gems from Angola, the former Portuguese colony in south central Africa. The compilation ‘Angola Soundtrack’ includes tracks from 1968 – 1976, arguably the golden era of Angolan music.

Angolan music is truly unique and stands on its own as a sound that can only be found in that part of the world. Rhythms such as Rebita, Kazukuta, Semba and Merengue, all of which are presented on ‘Angola Soundtrack’, might be unfamiliar to most listeners, but they are superbly melodic, highly danceable, hypnotic, raw, quintessentially beautiful – and totally addictive.

A powerful confluence of traditional rhythms from Luanda’s islands, psychedelic guitar sounds imported from neighbouring Congo, Latin grooves, old school Caribbean merengue and the hard beat of the Angolan carnival bands conspired to create the modern music of Angola. These sounds were immortalized by two excellent recording companies – Fadiang (Fábrica de Discos Angolano) and Valentim de Carvalho.

The nascent Angolan music scene was set on fire by a small group of courageous singers, backed by an array of super tight bands and led by extraordinary guitarists who revolutionized the musical and the political panorama of the 60s and 70s. These great electric bands of Angola were a well-kept secret until the late 90s when France-based music label Buda Musique released a short-lived series of Angolan music compiled by Ariel de Bigault.


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