Boomerang was first recorded in 1979 when the Broomfield Corporate Jam leader was attempting to go solo. It was the first cut Aaron Broomfield recorded under his own name – first, at the family band’s home studio, Kilimanjaro, and then later at professional studios in Los Angeles and Miami – but it was never released.
“I always wanted to be able to share Boomerang with my fans some day – I didn’t release it back then because I thought the time wasn’t right,” Broomfield explains. “It was so different to what was considered commercial then and felt ahead of its time.”
Broomfield had two test pressings made before he shelved the project. It was the find of the one remaining record by digger Arun Brown (the other perished when Broomfield’s Kilimanjaro studio was damaged by a fire in 1996) that set in motion its release today.
Jeremy at Crown Ruler says: “The jacket boasts a written essay by Broomfield himself, telling the story behind the song. The wax features two versions of Boomerang, of which both were meticulously restored and re-mastered by celebrated Australian sound engineer, Dan Elleson. Head to side A for the “test press” version, a cosmic, starry-eyed chunk of elastic Miami disco-funk where the Broomfield family’s killer instrumentation – all rubbery bass, deep space synths and crunchy Clavinet motifs – arcs around the sound space like a boomerang in flight. The vocal arrangement, in which Aaron Broomfield’s conscious lyrics come through loud and clear, brings it home. On the flipside, you’ll hear how dynamic the band was through the “Demo Version” – a relaxed, loose and spacey groover that sounds as ahead of its time in 2018 as it would have when it was recorded in 1979.”
Miles Cleret and DJ Okapi have handpicked a killer selection of bubblegum soul and synth boogie and have further built on the South African canon. All tracks have never been reissued or available digitally before on Gumba Fire: Bubblegum Soul & Synth-Boogie in 1980s South Africa.
This Soundway compilation covers music that evolves from the disco-boom in South Africa and was mutating and morphing into a synth-orientated sound that was often stripped down and overlaid with deeply soulful vocals and harmonies. The 18 tracks here highlight a period where American-influenced jazz, funk and soul merged with local mbaqanga music. It then bridged into the 1990s when kwaito, pantsula and eventually house-music ruled the dance floors, shebeens and sent collectors into a frenzy (especially in recent times).
Miles Cleret is the label boss at Soundway and DJ Okapi is a world renowned collector and journalist thanks to his recent compilation work with Rush Hour and his fantastic Afrosynth blog and recently established record label. The pair explain: “The compilation takes its name from the band Ashiko’s track of the same name Gumba Fire that features on the compilation. It is derived from ‘gumba gumba’, the term given to the booming speakers of the old spacegram radios that broadcast music into South Africa’s townships and villages. The phrase later evolved into ‘gumba fire’ to refer to a hot party.
“Whilst the title may be based on a specific song it is of course ultimately emblematic of the whole album, 18 tracks that radiate a glowing warmth in both tone and in the hot intensity of some of the rhythms that spark throughout, whilst also offering an important and intoxicating insight into the history of South African music – [the] sound dazzlingly contemporary in the process.”
To preorder, click: http://bit.ly/2FOQNol
New Australian label Crown Ruler has delivered the goods with Focus’ Zulu EP.
Sello Mmutung and Keith Hutchinson produced this in Johannesburg around 1983 originally as a six track album on cassette. Jeremy Spellacey at Crown Ruler – a renowned collector, DJ and promoter – provides some great insight with the releases liner notes:
“Keith Hutchinson, who co-produced the skeletons which would develop into Sello’s personal sound vision, explains: “Sello; it would be nice to say I know him well. We met in Universal Studios on the day of recording… I had no idea what I would be playing or co-composing – really in the deep end. I was there for just one day laying track after track… After I left Sello went it alone, adding saxes, percussion and vocals. What else happened – I don’t know.”
Zulu includes the original version of the much coveted Picnic (Moger), later covered by Starlight and Ray Phiri side project, Kumasi.
Pre-orders are being taken at Crown Ruler and the release is also distributed by Rush Hour.
Following 2012’s bounty on Kindred Spirits, Rush Hour boss Antal Heitlager puts together another sublime collection of obscure Surinamese disco and boogie with Thomas Gesthuizen.
Surinam Funk Force features Steve Watson’s Born To Boogie, and Surinam scene stalwart Sumy’s eccentric, synth-laden The Funky ‘G’ (Only Comes At Night, with more Surinamese fused killers like Explosion’s Wakka Mang and Ronald Snijders’ Kaseko Attack.
Antal explained to WTM about the finds and this lengthy project: “[The records were found] searching via fleamarkets, internet and friends. Thomas is also a serious collector of Surinam music. We have made contact with all the artists and found them.
“This project took more than four years. the first compilation I did on Kindred Spirits about Surinam music also took more than four years so in total this is already a project that is running for more then eight years Originally most of these tunes are b-sides or album cuts. In general Surinam singles have slow jams on the a-side and then sometimes a more freaky tune on the b-side. This is what we selected….But in the Surinam music scene these were the lesser popular tracks as it was more about the slower tunes.”
Click here for Rush Hour Records.