world . african . latin


Genre pick of the week Cover of Hoa Am Xura by Saigon Soul Revival.

Saigon Soul Revival

Hoa Am Xura

Saigon Soul Revival has been on a quest to reawaken the raw, enchanting sounds of 1960s and 70s Vietnam; a time when passionate music resonated in Saigon's streets and clubs with messages of love, heartache, hope and freedom. Amongst the turmoil of war, there was a rich cultural climate that fused popular genres of the day like rock, soul and bolero with Vietnamese music and lyrics. This fusion of sounds that bridged east and west became forbidden after the fall of Saigon in 1975 and almost vanished. Four decades later Saigon Soul Revival was born with the initial purpose of bringing these dormant sounds back to the stage. After numerous live performances over the last 3 years, the band has developed their own sound and now, with the release of their debut album “Họa Âm Xưa”, they are ready to share it with the rest of the world. The 11 track LP, including original compositions and nostalgic reinterpretations, blends traditional Vietnamese elements with modern concepts, featuring pre ‘75 and current artists, all while remaining firmly rooted in the “nhạc vàng” (golden music) of the time. Meaning “Old Harmonies”, Saigon Soul Revival is proud to present “Họa Âm Xưa” as a tribute to the artists and composers of the time that inspired them to create this marriage between past and present.

All members of the band are of Vietnamese background or have a strong connection to its culture and heritage through loved ones and their time spent in the country. Their music focuses on compositions that fuse Vietnamese lyrics and sounds with influences of western rock, soul, bolero, tango and other popular genres of this time period, most of which was banned after the war. This project strives to revive this beautiful musical heritage of Vietnam which represents an important cultural bridge between east and west.


Matt says: It's a Saigon explosion this week with two compilations highlighting the golden period of music from (what would become) Ho Chi Minh. Saigon Soul Revival however, are brand new - and pay tribute to this magical time with original compositions and vibrant material. It's a sincere and well executed concept which keeps the legacy of Saigon music alive and progressive in 2022.


A1. Ði Xa Ð.i Nhau
A2. Hào Hoa Feat. Blacka
A3. Nhân Gian T.nh
A4. V. ân T.nh Nguy.n Feat. Th. H.i Phý.ng
A5. T.nh Nh.c S.
A6. S.u Ðông
B1. Giây Phút Cu.i Tu.n Feat. Mai L. Huy.n
B2. Nào Ta Cùng Hát
B3. Bài Ca Ngông
B4. Chu.n Chu.n Xanh (H.a T.u) Feat. Nguy.n Th. H.i Phý.ng
B5. Ch.n T.nh Xýa

Idris Ackamoor / The Collective

Idrissa's Dream

    Strut continue their work from the archives of Idris Ackamoor & The Pyramids with a first ever vinyl release of Ackamoor's debut avant-garde / Afro-jazz recordings from 1971 with The Collective, based out of Yellow Springs, Ohio.

    The group was formed after Ackamoor had returned to Antioch from a spell in L.A. under the wing of influential saxophonist Charles Tyler. Pianist Lester Knibbs had been appointed to the Antioch college music department as an assistant professor and had followed a similar path to avant-garde pioneer, Cecil Taylor. "They both came from the classical tradition," explains Ackamoor, "but also understood jazz and avant-garde improvisation." Ackamoor and Knibbs started as a duet before Ackamoor met three musicians from Wright-Patterson Air Force base near Dayton. Ackamoor continues, "They would come to Yellow Springs because they could find marijuana there. They were called 'the three Steves': Steve Maniscoso, an Italian, Steve Rumboat, a white American and Oakland Steve, a black musician playing flute. Oakland Steve left the air force and then Margaux Simmons arrived - that is the quintet featured on these recordings. You also hear a vocalist called Peggy Pettitt, another Antioch student who became quite famous in movies; she starred in the film Black Girl soon afterwards in 1972.

    This concert is the only professional recording of The Collective from a performance at Kelly Hall in August 1971. "After this, I think the Steves went back to Wright-Patterson," continues Ackamoor, "and The Collective just naturally evolved and transitioned into the Pyramids. I felt like The Collective was my birth as a composer; we created such a tapestry of sound because Lester had the talent to play enormous arpeggios and colours on the piano, both classically and as improvisation. Our music was just a natural expression, coming from our souls, our hearts and our minds. A channel from above... But it was not pre-designed in any way.

    `Idrissa's Dream' is fully remastered from the original tapes by The Carvery and the package features an interview with Idris Ackamoor alongside previously unseen photos.


    A1 The Shepherd's Tune
    A2 Idrissa's Dream Part I
    B1 Idrissa's Dream Part II
    B2 Black Queen
    C1 Beginning Roots Part I
    D1 Beginning Roots Part II
    D2 Veil Of Solitude

    Paul Elliott & Shawn Lee

    Bass Sick Bitch / Honey Roast Nuts

    Quirky as fuck! is the term to describe the latest killer 45 from Paul Elliott & Shawn Lee.

    Since they crossed paths over a decade ago, Paul (Eleven76/Hot Border Special/The Mighty Mocambos) & Shawn (Ping Pong Orchestra/Young Gun Silver Fox) have collaborated on many impressive projects including the critically acclaimed documentary The Library Music Film. The pair share a love of weird, exotic, otherworldly sounds that can usually only be found in classic library music. However, with their latest release on Farfalla Records, they take the listener on a deep dive into the strange, percussive and unusual world they inhabit!

    'Bass Sick Bitch' begins with a glitchy toy rhythm and leads into a voice memo of a wooden 'Jank tone' instrument that Shawn had played and recorded for Paul to hear. Paul's low slung drums and percussion take off and the pair exchange phrases on some of their unusual instruments. This one has a head nod groove and a breakbeat that poppers, lockers and bboys can get down to...

    'Honey Roast Nuts' is introduced with a rhythm Paul literally played on an old tin of Honey Roast Nuts, hence the name....Shawn creates the vibe with Polynesian Ukulele, guitar and retro futuristic synthesized sounds, all the while a 70s inspired bass guitar keeps the mood up. The middle of the tune is stopped in its tracks when a voicemail recording from Paul's phone pops up and Shawn's fried brain takes us out with a modulated guitar!

    Take a trip with Paul Elliott & Shawn Lee, It's all good in the motherfucking hood yo!


    Bass Sick Bitch
    Honey Roast Nuts

    Felix Laband's The Soft White Hand is the masterwork of an artist who expresses himself through musical and artistic collage acting together to reinterpret his sources and to express significant elements of his own personal story. Released by Munich-based Compost Records, the 14-track album is Laband's first full-length offering since the critically acclaimed Deaf Safari in 2015. It is heralded by the single "Derek and Me", and is being pressed on vinyl for distribution globally.

    In The Soft White Hand Laband works with source materials that will be familiar to those who know his previous four records – Thin Shoes in June (2001), 4/4 Down the Stairs (2002), Dark Days Exit (2005) and especially Deaf Safari which reached deep into the South Africa scene and its political culture to inspire its vocal and music sampling. However, the disengagement he felt from his homeland during his latest album's creation – an abiding sense of untethered-ness to place and space, exquisitely rendered in tracks like "Death of a Migrant" – is perceptible in Laband's desire to illuminate instead aspects of his own life.

    "For this album, my source material became almost autobiographical as opposed to African statements I've worked with previously," says the artist. "I have sampled a lot from documentaries from the 80s crack epidemic in impoverished African American communities and believe my work speaks unapologetically for the lost and marginalised, for those who are the forgotten casualties of the war on drugs. In the past, I have had my issues with substance abuse, and I know first-hand about the nightmares and fears, what it feels like to be isolated and abandoned."

    Few artists have managed to air these intimate aspects of their life so luminously as Laband does in tracks like "5 Seconds Ago", "They Call Me Shorty" and in the strange and meditative "Dreams of Loneliness". "I've been building this weird, autobiographical story using other people talking. It's kind of humorous but it is also sad and beautiful," says Laband.

    Yet, as in all of Laband's recorded output, the delineations between emotions are never starkly drawn and The Soft White Hand is also shot through with beauty. Nature appears in recordings made in his garden in the intimate early morning hours, whether as in the calls of the Hadada Ibis and other birdsong in "Prelude" or of the vertical-tail-cocking bird in "Derek and Me". The last is a wonderful track with Derek Gripper, the South African experimental classical guitarist of international renown, whose 2020 song "Fanta and Felix" imagines a meeting between Fanta Sacko and Laband.

    Laband's eloquence in reinterpreting classical composers such as Beethoven in "We Know Major Tom's a Junkie" is another thrilling aspect of the new record. "I've been properly exploring classical music on this album," explains Laband, "taking melodies from classical compositions and reinterpreting them". A fresh quality comes to his work through this sonic adventuring: the tender manipulation of the mundaneness of the computer's AI voice to reimagine and reinvent iconic lyrics and melodies in strange and unexpected configurations.

    The Soft White Hand is Laband's most cohesive body of work to date. Yet it remains, in its sheer artistic scope, impossible to describe fully. Darkness abuts the gossamer light. A song that summons the sunrise and all the hope of a new day could also be about the final dipping down of the sun that portends a troubled night ahead. Interludes are invitations to expand outwards or shift inwards. Mistakes and "weird fuckups" in the sound are cherished as convincing statements against what Laband calls the "grossness" of perfect sound in modern music.

    For this world-leading electronic artist, the boundaries are unfixed. He is inspired by the German Dada artist, Hannah Höch, who memorably declared: "I wish to blur the firm boundaries which we self-certain people tend to delineate around all we can achieve." His music consequently reflects a primal artistic impulse that is also visible in Laband's considerable visual art output as seen recently in several solo exhibitions such as that held in the No End Gallery in Johannesburg in 2019 and in the works he produced during his 2018 Nirox Foundation Artists Residency. "My music is always about collage, as is my art,'' he affirms. "Everything I do is collage. It is a medium I find very interesting because you are taking history and distorting it and changing its meaning and turning it upside down and back to front." In her book Recollections of My Non-Existence, Rebecca Solnit calls collage "literally a border art"; it is "an art of what happens when two things confront each other or spill onto each other".

    With The Soft White Hand, Laband is confirming his singular ability to achieve this in both art and music, melting the divisions between the two creative disciplines until they become one. He is also affirming his belief that an album of music should be more than a collection of unrelated tracks, but should unfold a fully integrated, cohesive story as in the song cycles of the great classical composers. In doing so, he claims his position as one of the most significant artists working today.

    Artist Statement – Felix Laband – August 2022

    When the Khmer Rouge took their captives for processing, they identified their class enemies by looking at their hands. If they were sunburned, rough and calloused, they were those of a peasant, a proletarian to be spared. But if they were soft and white, then they were those of a city-dweller, an intellectual or bourgeois, an adversary to be liquidated.

    In calling this album The Soft White Hand, I was reflecting on the Cambodian genocide and how it resonates in contemporary South Africa. The apartheid era is over, and gone with it is white political domination. Yet economic and social privilege is still held in soft white hands. But those who grasp it know just how tenuous is their hold, how it singles them out, and my music reflects their subconscious fears, the stress and guilt of clinging on to what others envy and desire.

    The soft white hand of the title suggests to me a further image, one that relates to all of postcolonial Africa. In my mind's eye, I see the soft, duplicitous handshake of the smooth representatives of the superpowers making deals and promising gifts that benefit only them, and not their African dupes.
    Yet, soaring above the wailing of sirens sampled from the first day of the invasion of Ukraine, my music is also about love gained and passion lost. It is about the tender caress of a soft white hand that conducts you into a place of dreams to be enfolded by nocturnal melodies.


    1. Dreaming In Johannesburg
    2. Prelude
    3. Derek And Me
    4. We Know Major Tom's A Junkie
    5. They Call Me Shorty
    6. Go To Sleep Little Baby
    7. 5 Seconds Ago
    8. 7 Rise 7 House
    9. Borc Love
    10. Dreams Of Loneliness
    11. Requiem For The Lord
    12. Snug Retreat
    13. Death Of A Migrant



      Under the leadership of acclaimed French beat digger and producer Guts, Dakar became the creative centre of an exceptional encounter between "All Stars" musicians from Cuba, Africa and France: the 'Estrellas' A tribute to Afro-Cuban culture, between new versions of fnely selected songs and original compositions.


      1.  El Retorno 
      2.  Última Llamada Feat. Kumar Sublevao-Beat 
      3.  San Lázaro Feat. Akemis 
      4.  Yebo Edi Pachanga Feat. José Padilla 
      5.  Déjame En Paz Feat. Brenda Navarrete 
      6.  Oda Feat. Al Quetz 
      7.  Adduna Jarul Naawo Feat. Alpha Dieng & Assane Mboup 
      8.  Medewui Feat. Pat Kalla & Assane Mboup 
      9.  Dakar De Noche Feat. Iss 814, Samba Peuzzi, El Tipo Este & Kumar Sublevao-Beat 
      10.  Nunca Pierdo Feat. Assane Mboup, Alpha Dieng, Akemis, Pat Kalla & David Walters 
      11.  Nunca Pierdo Feat. Assane Mboup, Alpha Dieng, Akemis, Pat Kalla & David Walters 
      12.  Por Qué Ou Ka Fè Sa Feat. Brenda Navarrete & David Walters 
      13.  Sin Pantallas Feat. Cyril Atef & El Tipo Este 
      14.  Barrio Feat. Iss 814, Samba Peuzzi, El Tipo Este & Kumar Sublevao-Beat  15.  Dansons Cadencés Feat. Annas G, DjeuhDjoah & Lieutenant Nicholson 
      16.  Il N'est Jamais Trop Tard Feat. El Gato Negro 
      17.  Estrellas Feat. Florian Pellissier

      Fela Kuti

      Afrodisiac - 50th Anniversary Edition

        Fela Kuti (1938-1997) was a Nigerian musician, producer, arranger, political radical, outlaw and the originator of Afrobeat. A titanic musical and sociopolitical voice, Fela’s legacy spans decades and genres, touching on jazz, pop, funk, hip-hop, rock and beyond.

        Afrodisiac is the fifth in the series of celebratory Fela 50th Anniversary reissues. Like its predecessors in the series, this double LP edition is on color vinyl; LP 1 is green marble and LP 2 is on red marble. The album will be wrapped in a gold foil OBI strip with a brief essay on the album and Fela's global impact on music. The songs on Afrodisiac were tracks that Fela and the Nigeria 70 (Later Africa 70) re-recorded at Abbey Road Studios in 1972 after they had become hits in Nigeria. The best known song on the album, 'Jeun Ko Ku’, is listed by its Pidgin title ‘Chop and Quench’ on this album. It’s a satire about gluttony and Fela's first major hit across West Africa. ‘Chop and Quench’ means ""eat and die"" in Standard English.

        Afrodisiac was first reissued on vinyl in 2014 as part of the Fela Box Set #3 curated by Brian Eno. Eno played Afrodisiac for David Byrne and it was a huge influence on Talking Heads when they recorded Remain In Light - there is a bonus track called ‘Fela's Riff’ that nods heavily to the influence of hearing Afrodisiac and Fela's music for the first time.


        SIDE A:
        1. Alu Jon Jonki Jon
        SIDE B:
        1. Chop And Quench
        SIDE C:
        1. Eko Ile
        SIDE D:
        1. Je'nwi Temi (Don't Gag Me)

        Mauskovic Dance Band

        Bukaroo Bank

          Amsterdam based Mausovic Dance Band make madcap music intent on expanding musical universes. Powered by elastic rhythms and some potent dub wizardry, the five-piece are synonymous with flipping global music traditions and creating new, sound-system stylised, synth powered, dance-floor experiments.

          Whilst their 2019 debut album on Soundway Records offered a frenetic mix, imbued by the Colombian champeta, Ghanaian highlife and spaced out disco, their new forthcoming album Buckaroo Bank, set for release on Swiss label Bongo Joe Records, feeds off the industrial sounds of New York City, post punk and early electronic explorers. At the very centre of the project is the dub, the Mauskovic echo chamber, guided by their universal hero Lee Scratch Perry and made possible by their studio friend Kasper Frenkel who provided the tools this new Mauscovic riddim philosophy.

          A proper family band (4 of them are related), and fronted by Nico Mauscovic who is also part of Zamrock touring band W.I.T.C.H., the group have released various singles since their debut album including on Berlin label Dekmantel and most recently, on experimental Swiss label Bongo Joe, their perfect home for brand new album Buckaroo Bank.


          1. Buckaroo Bank
          2. Face
          3. Wie Niet Weg Is Is Gezien
          4. Parata Est
          5. Zwaar
          6. Bebi
          7. People In The Hall
          8. Dr Rhythm Space
          9. Telefoon Dub
          10. Samen
          11. Buckaroo Bank - Slow Version
          12. Slow Crack

          The Pyramids

          Birth / Speed / Merging

            Strut present 3 separate reissues of the 1970s album trilogy from Idris Ackamoor & The Pyramids. As students at Antioch ollege, Ohio, alto saxophonist Idris Ackamoor, flautist Margaux Simmons and bass player Kimathi Asante created three lasting monuments in sound — Lalibela, King of Kings, and Birth / Speed / Merging, a trio of albums produced without any label backing or distribution between 1972 and 1976. Their music is unique among the varied canon of avant-garde and experimental music of 1970s America: high intensity African-styled percussion topped with songs, chants, and horns, laced with African instruments and arranged into long, flowing suites that surge and roll.

            Birth/Speed/Merging was recorded in 1976 after the band's move to San Francisco. The album closes the Pyramids' 70s trilogy and makes more use of studio technology: adding overdubs and other effects, a marked departure from the previous two releases, though at no cost to the urgent message and energy of their earlier works.

            TRACK LISTING

            1. Aomawa
            2. Birth / Speed / Merging - Part 1
            3. Birth / Speed / Merging - Part 2
            4. Birth / Speed / Merging - Part 3
            5. Birth / Speed / Merging - Part 4
            6. Reaffirmation - Part 1
            7. Reaffirmation - Part 2
            8. Reaffirmation - Part 3
            9. Reaffirmation - Part 4
            10. Jamaican Carnival - Part 1
            11. Jamaican Carnival — Part 2
            12. Black Man And Woman Of The Nile

            The Pyramids

            King Of Kings

              Strut present 3 separate reissues of the 1970s album trilogy from Idris Ackamoor & The Pyramids. As students at Antioch ollege, Ohio, alto saxophonist Idris Ackamoor, flautist Margaux Simmons and bass player Kimathi Asante created three lasting monuments in sound — Lalibela, King of Kings, and Birth / Speed / Merging, a trio of albums produced without any label backing or distribution between 1972 and 1976. Their music is unique among the varied canon of avant-garde and experimental music of 1970s America: high intensity African-styled percussion topped with songs, chants, and horns, laced with African instruments and arranged into long, flowing suites that surge and roll.

              King Of Kings was recorded in 1974 and features a wider array of instruments including Ugandan Harp and Balafon. Perhaps best known for the expansive "Nsorama (The Stars)" a seminal work of Spiritual Jazz.

              TRACK LISTING

              1. Mogho Naba (King Of Kings)
              2. Queen Of The Spirits Pad 1
              3. Queen Of The Spirits Pad 2
              4. Queen Of The Spirits Part 3
              5. Nsorama (The Stars)
              6. My Africa

              The Pyramids


                Strut present 3 separate reissues of the 1970s album trilogy from Idris Ackamoor & The Pyramids. As students at Antioch college, Ohio, alto saxophonist Idris Ackamoor, flautist Margaux Simmons and bass player Kimathi Asante created three lasting monuments in sound — Lalibela, King of Kings, and Birth / Speed / Merging, a trio of albums produced without any label backing or distribution between 1972 and 1976. Their music is unique among the varied canon of avant-garde and experimental music of 1970s America: high intensity African-styled percussion topped with songs, chants, and horns, laced with African instruments and arranged into long, flowing suites that surge and roll.

                The debut album by the Pyramids was inspired by the group's visit to the Lalibela monastery in Egypt, and was recorded in Yellow Springs Ohio in early 1973. Drawing on the teachings of Cecil Taylor and the influence of John Coltrane, combined with a barrage of intense percussion, the album evolves over several long-form pieces, Initially only 500 copies were pressed and sold to friends and followers in the local area.

                TRACK LISTING

                1. Lalibela
                2. Sheba's Dance
                3. High Priestess
                4. Rock Churches
                5. Dialogue Of The Spirits
                6. Mesenko Nights
                7. Indigo
                9. Sunset At Giza

                T.P. Orchestre Poly-Rythmo

                Afro-Funk - 2022 Reissue

                  The latest LP installment from the legendary Albarika Store archive, presented by Acid Jazz Records: a compilation of Afro-Funk from the supreme T.P. Orchestre Poly-Rythmo. Includes the underground classic ‘It’s A Vanity’, among tracks from throughout their career from the late ‘60s to the early ‘80s. A prime example of some of the finest original Afro-Funk and an ideal introduction to T.P. Orchestre Poly-Rythmo.

                  TRACK LISTING

                  Gbeto Viv
                  It’s A Vanity
                  Minkou E So Non Moin
                  Kou Tche Kpo So O
                  Houe Djein Nada
                  Gbeti Ma Djro
                  Gan Tche Kpo
                  Mi Si Ba To
                  Mi Ve Wa Se
                  Aihe Ni Kpe We 

                  Al Valdez Y Su Conjunto

                  Gozando!! - 2022 Reissue

                    One of the ‘holy grails’ of 1960s Cuban music was not recorded, produced or released in Havana or New York; in fact it was made in Lima, Peru and sounds like a long lost record by Cachao and Tito Puente if they led an orchestra with Charlie Palmieri on piano and Tito Rodríguez on vocals. Always an extremely rare collector’s item, Gozando!! will now be able to reach a wider vinyl-loving audience with this first-time ever faithfully reproduced reissue.

                    Various Artists

                    Luke Una Presents É Soul Cultura - Special Piccadilly Edition

                      With some of the best DJs and selectors there is a certain mysterious sound or underlying feeling which unites the music they play, regardless of genre, year or tempo. Luke Una is a master of telling a story through music and this compilation is a perfect example of his musical alchemy in action. Featuring tracks from Yusef Lateef, Airto Moreira, Crooked Man, Henri Texier and many more, it is a collection of new, old, rare and under-discovered music from around the world, all united by Luke under the banner of "E-Soul Cultura".

                      It's best described by Luke himself, who writes: "As the 5AM city sleeps and the strobe lights are slowly turned off, we gather on the wrong side of town in a transcendental journey alone together. We are the late night disenfranchised holding on in various after parties, flats, lofts, random kitchens and basements into the outer cosmos with É Soul Cultura. Music from exotic tear jerkers, Afro-spiritual jazz, cosmic Brazilian celestial grooves, machine street soul, dark horses, lost B-sides, £1 bargain-bin bombs, hidden gems, late night Italo dubbing, deep velvet N.Y.C garage, bass buggin sonic futurism, wrong speed 33BPM pitched up +8 new beat, majestic sunset strings, sweet vocals from heaven, no half steppin jazz dancing in outer-space and odd numbers. Yes… magical moments, together, holding on in witness protection suburban cul-de-sacs and Castle Court flats. Cosmic É high, 3000ft above the city getting evangelical to murky, wonky timeless beautiful music. This thing of ours dreaming of better days. Fail we may, sail we must, the sun will come up again." For anyone who has enjoyed his epic 5 hour shows on Worldwide FM, you know what to expect from the man who is Luke Una. Variety and quality all the way. 

                      TRACK LISTING

                      1. Robson Jorge & Lincoln Olivetti – Eva
                      2. Chene Noir - Le Train
                      3. Metropolis - Every Time I See Him
                      4. The Brand New Heavies Featuring N'Dea Davenport – Stay This Way (The Lunar Dub)
                      5. Typesun - The P.L. (Extended Edit)
                      6. King Errisson - Space Queen
                      7. Yusef Lateef - Robot Man
                      8. Daniel Humair, Francois Jeanneau, Henri Texier - Le Cyclope
                      9. Airto Moreira - O Galho Da Roseira (The Branches Of The Rose Tree)
                      10. Francisco – Wache
                      11. Nar'Chiveol - Apocalypse Now Ho
                      12. On - Southern Freeez
                      13. Soylent Green - After All

                      Saigon Supersound Continues to present more interesting tunes of a musical era that has long been obscured. With the well-received Volume 1, they dig deeper and share with you the beautiful music of a short but significant period in Vietnam‘s history.

                      Much like the country itself, the music of Vietnam has endured many twists. As the result of the Geneva Accords in 1954, Vietnam was divided into two. From the North, the Nationalist forces fought to reunite Vietnam as a Communist State, while the American troops backed the government of the South. This caused a mass migration of Northerners to the South, which includes many Tân Nhạc (Modern Music) singers and songwriters. Often characterized by its emotive, poetic and prolific personality, Tân Nhạc continued to freely develop in the South and progressively vacating from the influences of its main inspiration, French music. In the North, the Resistance music, or the so-called Nhạc Đỏ (Red Music), which promoted socialism, patriotism and anti-capitalism was the only genre allowed on national radio. Tân Nhạc was something new to the South Vietnamese repertoire. Between 1954–1960, the theme of hometown (quê hương) was a main inspiration for many songwriters such as Hoàng Thi Thơ, Lam Phương and Nguyễn Hữu Thiết. The 9th title of the compilation, “Thôn Trăng Mở Hội Trăng Tròn” showcases a variety of images that were often described in this genre: the harvest moon, playful children, old mother…

                      Every recording made in this era is then an organic combination of human experiences, communications and uniqueness. In 1965, the first American troop landed in Vietnam, bringing with them the musical influences of the Beatles, Bob Dylan, Jimi Hendrix, Elvis Presley… The Vietnamese people quickly integrated it into the repertoire with hope to further diversify the music of Vietnam. Constantly changing and learning from different cultures, the modern music of Vietnam cuts a window into the soul of a Vietnamese person and the country’s history as a whole. With that, we hope that Saigon Supersound Volume 2 would take you on a trip back to the unique atmosphere of Saigon through the many different palettes of music that this beautiful place offers.

                      TRACK LISTING

                      Carol Kim - Sài Gòn
                      Sơn Ca - Khi Tình Yêu Đến
                      Vân Sơn - Cô Tây Đen
                      Elvis Phương - Loan Mắt Nhung
                      Thanh Tuyền - Con Gái Của Mẹ
                      Thanh Thúy - Trăng Mờ Bên Suối
                      Phương Dung - Khúc Hát Ân Tình
                      Thanh Lan - Sáng Rừng
                      Sơn Ca - Thôn Trăng Mở Hội Trăng Tròn
                      Túy Phượng - Xin Lễ Cưới Em
                      Champagne - Funky Do
                      Hùng Cường - Tại Anh Hay Tại Em
                      Connie Kim - Túp Lều Lý Tưởng
                      Trường Hải - Đường Lên Non
                      Mai Lệ Huyền - Nhớ Mình Anh Thôi
                      Lệ Thu - Mừng Nắng Xuân Về
                      Phương Dung - Những Đồi Hoa Sim
                      Kích Động Nhạc AVT - Lơ Thơ Tơ Liễu

                      Saigon Supersound present the 3rd and final volume of its pre-1975 Southern Vietnamese music collection. A curated collection of music from Saigon during the 1960s and early 1970s. The music has been restored and remastered in order to present listeners with audio quality on par with its original quality upon release more than half a century ago.

                      The first few songs in this Volume are songs Vietnamese people used to call “Stimulus Music” or “Action Music”. These are songs that borrow vibrant melodies, inspired by the west, performed by the best representatives of this genre. In addition, this volume includes songs, famous in clubs both past and present like “Nếu Anh Về Bên Em” by Mai Hương and “Hình Ảnh Người Em Không Đợi” by Thanh Lan.

                      Many believe that "Southern Golden Music" is just popular music, simply because it "pleases the listener". Volume 3 include melodies most Vietnamese might have considered “unpopular”, but popular with “golden music” lovers. Today, people often call “gold music” bolero music, because this is the most popular style found in this golden era of music. In this volume, Saigon Supersound have selected typical bolero songs like,“Hàn Mặc Tử” sang by Trúc Mai, as well as, “Nắng Chiều” by Lê Trọng Nguyễn.

                      In addition to the variety of melodies, Volume 3 also shows the diversity of genres found in old Southern music by introducing songs that praise the homeland such as “Tình Reo Trên Sóng Lúa Vàng” by Thanh Lan, praising peace in “Xin Cho Tôi Giấc Mộng Bình Yên” by Thanh Tuyền, witty music in “Cậu Cả Lên Thành” by Connie Kim.

                      Volume 3 closes with the song “Xuân Muộn” (Late Spring), performed by Hoàng Oanh. The song talks about the end of a lunar year - a cycle of heaven and earth, the end of sad stories and opens up new hopes for more positive things to come.

                      Finally, the face of the movie star Kiều Chinh is chosen to grace the cover image of Saigon Supersound 3rd Volume. Although she may not have had any direct relations related to music, more than 50 years ago, Kiều Chinh's image appeared many times on the covers of various music sheets. The image of Kiều Chinh was chosen for the mix of Eastern and Western cultures present in her life and career that mirrored the music of that era. These songs, with melodies originating from Europe, the Americas and Africa have been an integral part of Vietnamese music since the 1960s.

                      TRACK LISTING

                      Thư Tình Cho Em - Mai Lệ Huyền
                      Tuỳ Anh Tuỳ Em - Hùng Cườn
                      Anh Đâu Em Đó - Connie Kim
                      Điệu Ru Nước Mắt - Carol Kim
                      Người Hành Hương Trên Ðỉnh Núi - Khánh Ly
                      Bức Thư Tình Trên Lô Cốt - Ban Sao Băng
                      Cậu Cả Lên Thành - Connie Kim
                      Tình Reo Trên Sóng Lúa Vàng - Thanh Lan
                      Xin Cho Tôi Giấc Mộng Bình Yên - Thanh Tuyền
                      Nắng Chiều - Sơn Ca
                      Đừng Quên Anh Là Lính - Trường Hải
                      Bản Nhạc Không Tên - Ban Nhạc Lê Văn Thiện
                      Mưa Bay Trong Đời - Duy Khánh
                      Hàn Mặc Tử - Trúc Mai
                      Nếu Anh Về Bên Em - Mai Hương
                      Gửi Người Em Nhỏ - Duy Quang
                      Hình Ảnh Người Em Không Đợi - Thanh Lan
                      Trách Yêu - Hùng Cường & Mai Lệ Huyền
                      Tình Anh Tình Em - Túy Phượng
                      Xuân Muộn (Chiều 30 Tết) - Hoàng Oanh

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