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Artist: BEBEY, FRANCIS
Title: African Electronic Music 1975-1982
Format: Double LP
Label: Born Bad
Country: France
Price: $28.00
2016 repress. "Cameroonian musician Francis Bebey is truly one of a kind. He entered the music scene with his African compositions for classical guitar. He gave recitals while pursuing a career in journalism and then as an international civil servant. The same creative impulse also led him to write pop songs, some of which (based on novels he had written) became big hits in Africa and in the French-speaking world. But few people know that in the 70s, Francis Bebey delved into electronic music. The first electronic keyboards, organs and drum machines offered him new possibilities of totally controlling his compositions. He embraced the technique of "sound on sound" recording (recording several tracks, sequentially juxtaposed on the same tape). This new stage in his musical career included the production of several records (Savannah Georgia, New Track, Haiti), rarities both for their creative explorations as well as their manifestations on vinyl. This was a particularly rich period for him, as he tested the limitless possibilities of the medium, and made use of surprising and novel instruments. Incredible sounds -- in the literal sense of the word -- would soon appear on the planet Bebey. Full-color printed innersleeves with notes in English and French." -Born Bad.

Artist: BEBEY, FRANCIS
Title: African Electronic Music 1975-1982
Format: CD
Label: Born Bad
Country: France
Price: $16.00
"Cameroonian musician Francis Bebey is truly one of a kind. He entered the music scene with his African compositions for classical guitar. He gave recitals while pursuing a career in journalism and then as an international civil servant. The same creative impulse also led him to write pop songs, some of which (based on novels he had written) became big hits in Africa and in the French-speaking world. But few people know that in the 70s, Francis Bebey delved into electronic music. The first electronic keyboards, organs and drum machines offered him new possibilities of totally controlling his compositions. He embraced the technique of "sound on sound" recording (recording several tracks, sequentially juxtaposed on the same tape). This new stage in his musical career included the production of several records (Savannah Georgia, New Track, Haiti), rarities both for their creative explorations as well as their manifestations on vinyl. This was a particularly rich period for him, as he tested the limitless possibilities of the medium, and made use of surprising and novel instruments. Incredible sounds -- in the literal sense of the word -- would soon appear on the planet Bebey. CD housed in a digisleeve with a 8-page booklet." -Born Bad.

Artist: BEBEY, FRANCIS
Title: African Electronic Music 1975-1982
Format: Double LP
Label: Born Bad
Country: France
Price: $28.00
"Cameroonian musician Francis Bebey is truly one of a kind. He entered the music scene with his African compositions for classical guitar. He gave recitals while pursuing a career in journalism and then as an international civil servant. The same creative impulse also led him to write pop songs, some of which (based on novels he had written) became big hits in Africa and in the French-speaking world. But few people know that in the 70s, Francis Bebey delved into electronic music. The first electronic keyboards, organs and drum machines offered him new possibilities of totally controlling his compositions. He embraced the technique of "sound on sound" recording (recording several tracks, sequentially juxtaposed on the same tape). This new stage in his musical career included the production of several records (Savannah Georgia, New Track, Haiti), rarities both for their creative explorations as well as their manifestations on vinyl. This was a particularly rich period for him, as he tested the limitless possibilities of the medium, and made use of surprising and novel instruments. Incredible sounds -- in the literal sense of the word -- would soon appear on the planet Bebey. Full-color printed innersleeves with notes in English and French." - Born Bad.

Artist: BEBEY, FRANCIS
Title: Psychedelic Sanza 1982-1984
Format: Double LP
Label: Born Bad
Country: France
Price: $28.00
"Double LP version with printed inner sleeve. Born Bad Records presents the music of Cameroonian musician Francis Bebey, circa 1982-1984. "The first time I saw a sanza (a type of African thumb piano), it was just sitting there on a piece of furniture in my familys living room/dining room -- a space that our father also transformed into a recording studio every day. It seemed more like a box than a musical instrument: a mysterious instrument, which arrived at our house, like many things, in a somewhat miraculous way. The sounds it produced seemed particularly bizarre; to my young musicians ears, trained in Western classical music, it sounded out of tune. Thats because, like my brothers and sisters, I had been trained on the piano. I had trouble understanding how anyone could endure these tones and, honestly, our fathers passion for unusual sounds did not interest me. I was in secondary school at the time (the very late 1970s) and was not at all oriented toward musical projects. I planned to graduate, and then become a chef. In the early 1980s, my interest in music picked up. I was still undecided about my career. I was content to pursue my serious English studies while hanging out at jazz clubs at les Halles in Paris, where I sometimes joined jam sessions. Next, I put together my first band with professional musicians; I had hidden my age and lack of experience from them. France was just beginning to accept world music. Musicians of every nationality were performing in Paris. It was a wonderful period. My father asked my brother Toups and me to accompany him for a few concerts. In particular, we toured Tunisia together at the time of the 1983 Carthage International Festival. Back then, my father was renowned across the French-speaking world. Everyone looked forward to hearing his humorous songs, like Agatha and La condition masculine. But, behind the scenes, he continued his research concerning electronic music, the sansa, pygmy polyphony, etc. One day he put a sansa in my hands, without saying a word. He was sending me a message: Lets see what you can do with it! Thats when I really discovered something. Exploring the instrument and playing, I transcended the imperfect aspect of its sound and began to discover its fascinating potential. Playing the sansa, you enter a world that enraptures you in a very serene and mesmerizing way. I think its sounds evoke a rainbow, with rain falling while the sun shines. A very peaceful feeling. It allows you to make music that truly sounds like life. The sansa is also the instrument that my father and I shared the most because I am a pianist and he was a guitarist. I also share this eminently African instrument with my musician brother, Toups. Our father loved to tell us one of the legends of the sansa: how it even managed to dispel the boredom felt by... the Creator himself! This instrument gives life to the world, to beings and things. I did not participate in the production of the various records that my father devoted to the sansa. He did it himself, you might say, in his laboratory. Yet today, I cannot imagine playing a concert without using a sansa. The piano remains present so that listeners dont become disoriented and wonder about the weird sounds invading their ears! However, I find the eccentric and disturbing side of sansa interesting. And the sansa always affects the audience: in reality, it excites them. The secrets of this instrument are surely its beneficial powers and... its magic!" -Patrick Bebey.

Artist: BEBEY, FRANCIS
Title: Psychedelic Sanza 1982-1984
Format: CD
Label: Born Bad
Country: France
Price: $18.00
"Born Bad Records presents the music of Cameroonian musician Francis Bebey, circa 1982-1984. "The first time I saw a sanza (a type of African thumb piano), it was just sitting there on a piece of furniture in my familys living room/dining room -- a space that our father also transformed into a recording studio every day. It seemed more like a box than a musical instrument: a mysterious instrument, which arrived at our house, like many things, in a somewhat miraculous way. The sounds it produced seemed particularly bizarre; to my young musicians ears, trained in Western classical music, it sounded out of tune. Thats because, like my brothers and sisters, I had been trained on the piano. I had trouble understanding how anyone could endure these tones and, honestly, our fathers passion for unusual sounds did not interest me. I was in secondary school at the time (the very late 1970s) and was not at all oriented toward musical projects. I planned to graduate, and then become a chef. In the early 1980s, my interest in music picked up. I was still undecided about my career. I was content to pursue my serious English studies while hanging out at jazz clubs at les Halles in Paris, where I sometimes joined jam sessions. Next, I put together my first band with professional musicians; I had hidden my age and lack of experience from them. France was just beginning to accept world music. Musicians of every nationality were performing in Paris. It was a wonderful period. My father asked my brother Toups and me to accompany him for a few concerts. In particular, we toured Tunisia together at the time of the 1983 Carthage International Festival. Back then, my father was renowned across the French-speaking world. Everyone looked forward to hearing his humorous songs, like Agatha and La condition masculine. But, behind the scenes, he continued his research concerning electronic music, the sansa, pygmy polyphony, etc. One day he put a sansa in my hands, without saying a word. He was sending me a message: Lets see what you can do with it! Thats when I really discovered something. Exploring the instrument and playing, I transcended the imperfect aspect of its sound and began to discover its fascinating potential. Playing the sansa, you enter a world that enraptures you in a very serene and mesmerizing way. I think its sounds evoke a rainbow, with rain falling while the sun shines. A very peaceful feeling. It allows you to make music that truly sounds like life. The sansa is also the instrument that my father and I shared the most because I am a pianist and he was a guitarist. I also share this eminently African instrument with my musician brother, Toups. Our father loved to tell us one of the legends of the sansa: how it even managed to dispel the boredom felt by... the Creator himself! This instrument gives life to the world, to beings and things. I did not participate in the production of the various records that my father devoted to the sansa. He did it himself, you might say, in his laboratory. Yet today, I cannot imagine playing a concert without using a sansa. The piano remains present so that listeners dont become disoriented and wonder about the weird sounds invading their ears! However, I find the eccentric and disturbing side of sansa interesting. And the sansa always affects the audience: in reality, it excites them. The secrets of this instrument are surely its beneficial powers and... its magic!" -Patrick Bebey.

by artist / 0-9    A    B    C    D    E    F    G    H    I    J    K    L    M    N    O    P    Q    R    S    T    U    V    W    X    Y    Z    V/A \   by label