Back catalogue:

Review: Kalita Records are proud and honoured to announce the first ever and official reissue of Kallaloo's sought-after 1982 disco single 'Star Child', accompanied by interview-based liner notes. Originally released on Jeffrey Turpin's Trinidadian record label IDA, 'Star Child' has since become highly sought-after by both DJs and collectors alike as an invisible, yet astonishing piece of Caribbean disco. Unable at the time to gain the traction and success that it deserved, we hope that this re-release provides an opportunity to bring such a great record to a much wider audience.

Kallaloo consisted of various Trinidadian musicians including Keith Alexander and Peter Wayne Barkley. Keith had been well-respected as a member of the Trinidadian group Impact, and was later to become an in-demand producer and composer under the name of Keith Diamond, responsible for various hits by Billy Ocean, Donna Summer, Starpoint and Melba Moore. In contrast, Peter was a well-known recording session drummer, but after 'Star Child's' release he moved to North Carolina to pursue other interests and "was never heard from again".

'Star Child' was recorded at Right Track Recording, in mid-town Manhattan, New York. As Jeffrey recalls, the atmosphere in the studio was "great", with "everyone upbeat, the cream of the crop just looking for that break... everyone was talented and just wanted the chance to express their own ideas". Five hundred copies of the record were released on IDA with a white label design, and they were sold both in Brooklyn, New York and Port of Spain, Trinidad. It was also released on a red label, however this was not to Jeffrey's knowledge at the time.

Jeffrey explains that the reason why the record didn't fare well at the time was because of the difficulty in getting the song played on the radio. As he recalls, radio stations were much more likely to play 'radio versions' of songs which lasted for a couple of minutes, rather than five or seven minute 'extended' versions such as 'Star Child', which were more suitable to a club environment. In addition, as Jeffrey explains, radio airplay is a "political business", and also within a short while band members such as Keith got their own breaks, and the Kallaloo era was over as quickly as it had started.

Review: The Polyversal Souls are renowned for the strength of their collaborative singles, which to date have featured all manner of legends and rising stars from the underground African music scene. This time around, the German-Ghanaian band provides high-grade backing for guest vocalist Frank Karikari, son of legendary Highlife musician Ralph Karikari. The A-side medley of "Siakwaa/Nana Agyei" is particularly good, with Karikari's confident lead vocal rising above shuffling, soft-focus drums and ear-catching juju guitars. Flipside cut "Odo Agye Gye Me" is great, too, offering a slightly more upbeat and undeniably percussive fusion of highlife/Afrobeat fusion.

Review: Fingier Records is a new Acid Jazz sub-label that is back with a brand new 7" from The Kevin Fingier Collective. It's a real dance floor heater that is perfectly aged and authentic as it mixes up Northern Soul and r&b with driving guitar rhythms and steamy piano chords. The horns are killer but the vocal is the icing on the cake. On the flip things get Latin flavoured with the bossa-tinged mod jazz of 'The Great Akerman' which is defined by lush flute and organ vamps. This is a great taster of the full length to come from The Kevin Fingier Collective.

Review: Elado Gulab Jamun did a fantastic job with his edit of this Bollywood gem to the extent that it has become a real dancefloor gem that's been much loved all around the world for the last two years. Now it makes its way to a 7" vinyl pressing and is backed with his 4am mix of the same tune. This one is a sublime and dubbed out, acid tinged electronic trip that comes with original CD artwork that pays great tribute to original artist Nadim Khan. Another tasteful outing from Razor-N-Tape for this fresh edit.

Review: Emotional Rescue closes out another brilliant year with one final hot drop. This sorting 7" Safari by King Sporty was the artist's first ever single back in 1976. It comes after the label has served up plenty of reissues of the man known as Noel Wiliam's tackle but this one might be the best. It's from his album Deep Reggae Roots and is nice tropical excursion with steamy hits, wooden percussive sounds and funky bass over a low-slung groove and chanting vocals. This one is backed with a special disco mix by Lexx that reworks the tune for more lively moments.

Review: This London-based crew follows up their recent and acclaimed Akyio project with a 12" that dives deep into the vibrant rhythms of Brazil. The original is by the unique Samba De Matuto Leao Do Norte De Maragogi and was recorded by DJ Tudo. Kolago Kult offers a mix that is packed with Latin swagger, organic percussion and jumble of hand drums while the late Master Tiao adds his vocals to this samba-inspired street sound. Kolago Kult then steps up with two psychedelic remixes that are packed with heavy and dubby rhythms and many layers of percussion. A truly global journey, this one.

Review: Bosq's take on Konkolo Orchestra's 'Le Secret' feels like the moment when an Afrobeat anthem gets suited up for the club. Infused with his trademark Latin disco edge, the remix blends the rich pulse of Afro rhythms with sleek, dancefloor-ready beats. It's clear Bosq's move to Colombia has added a fresh sense of urgency to the track: percussion snaps with precision, while lush, warm keys wrap around the groove. The instrumental mix on the B-side strips it back, leaving only the track's hypnotic beats and intricate textures to breathe perfect for DJs looking to build atmosphere. This is Bosq's take on Afrobeat, refracted through his own shimmering lens, and it's infectious.

Review: Spanish reissue label Rocafort present this wonderful slice of highlife from Konkolo Orchestra, this time on nice blue wax as well as a plain black version. It's not exactly clear where, or indeed when, exactly the band came from, but their sound is all you need to worry about. 'Blue G' is a lilting, shuffling message of love and support for future generations, and from the message to the effervescent musicality, it's a no-brainer. On the flip, 'That Good Thing' is an instrumental that spirals outwards on the sweetest keys, joyous brass and dreamy guitar, driven by a pattering drum section to radiate good vibes wherever it's played.

Review: Over the last three years, DJ/producer Mimmo "MoBlack" Falcone has turned MoBlack Records into arguably the World's leading label for African house music. Defected clearly thinks so, because the label has decided to put out this EP featuring tracks from remixes from Falcone and some of his regular collaborators. On side A Falcone joins forces with Armonica to deliver two sparkling, rubbery, positive and heavily electronic reworks of Fela Kuti classic 'International Thief Thief'. Both hit the spot, though it's the Dub, with its extended vocal breakdown and trippy effects, that floats our boat. Over on the flip we're treated to two versions of MoBlack, Emmanuel Jal and Henrick Schwarz hook-up 'Chagu': a bouncy Afro-tech take from Schwarz and a warmer, deep Afro-house interpretation by Falcone.

Review: Afrobeat virtuoso Seun Kuti is soon to release his highly anticipated album, Heavier Yet (Lays The Crownless Head) later this year. It features guest appearances from Damian Marley and Sampa The Great so promises to be a global sensation. Ahead of that, we get a taste of things to come from his distinctive Afrobeat sound with this powerful new work on Milan's Record Kicks. First up here with get the bubbly rhythms of 'Emi Aluta' (Zamrock remix) then 'Emi Aluta' (feat Sampa The Great - 45 edit) comes complete with some hard bars.

Review: Spanish producer Kiko Navarro has joined up with veteran Beninois vocalists and musical powerhouse Kaleta and the next level skills of The Ibibio Horns for this vibrant new 12". It's an inspired and Afro-infused groove exploration with funk, disco and acrobat all bottle dup in the beats that traverse Afria from East to West. The Ibibio Horns are on fire of course as they blaze up the sounds with their expressive horns and red hot keys while the vocals from Kaleta add further fuel to the fire. Instrumentals are also provided for more direct to dancefloor business.

Review: Medellin-based American Bosq - a renowned musical fusionist with a passion for all things tropical - has been working with Benin-based Nigerian guitarist/vocalist Kaleta on and off for 12 years, with the pair delivering a series of sensational singles. No Be Today is the duo's first collaborative full length, with previous singles being joined by previously unheard cuts across two slabs of wax. As you'd expect given their previous work, much of the music joins the dots between various Afro-Latin styles and similarly vintage Black American dance music genres such as disco, funk and soul. It's an effervescent and effortlessly brilliant set all told, with highlights including pitched-down Afro-funk number 'Ose', glorious Afro-disco number 'Sonayon', Afrobeat update 'Ipade' and scorching Latin dancefloor workout 'Miselou'.

Review: Essential Hi-Life & Afro-Funk from Ghana! The legendary K. Frimpong's fantastic rare second album recorded in 1975 at Ghana Films Studio. As a prolific songwriter and singer, this is reissue of his 2nd album, a modern fusion of Hi-life and the traditional beat called Ahyewa. The excellent background is given by the Super Complex Sounds band which makes the Ahyewa beat suitable for specialist dancefloors.A must have vinyl of percussive Afro-Funk & modern Hi-life . Remastered by Frank Merritt at The Carvery, pressed on Deluxe Replika format, fully licensed to the Alhadji Kwame Frimpong Family.

Review: Almost entirely ignored at the time of its original release, Nigerian drumming maestro Remi Kabaka's legendary original LP Son Of Africa has gone down in legend as the defining solo statement of an incendiary drummer, whose contributions to music across the jazz and rock spectrums is credited and felt strongly to this day. A founding member of Afro-jazz band Osibisa, Kabaka is credited for his work with many a Rolling Stone and Beatle, but it's his solo work on this Afro-funk rare gem that really gets the least easy to please among us going. An Afrofuturist statement to the core, its jubilant vocal chants and defiant trumpet lines are but mere pepperings over the boxy, banging body that is Kabaka's live Afrobeat quads.

Review: A Dancefloor in Ndola, curated by East African DJ Kampire for Strut Records' 25th anniversary, is a great example at the broad sounds of classic East and Southern African music. With 13 tracks that span genres like Congolese rumba, South African bubblegum, and Zambian kalindula, the compilation pays homage to the rich musical heritage of the region. Kampire's personal connection to the music, shaped by her upbringing in Ndola, Zambia, adds depth to the compilation. Through her own edit of 'Ririmi Rotsombela' and personal liner notes, she traces her links to the music, creating a nostalgic experience for listeners. The compilation not only celebrates well-known artists but also shines a spotlight on women in African music from the 80s, including legends like Pembey Sheiro, Feza Shamamba, and Princesse Mansia M'bila. It's a testament to the diversity and richness of African music history. With its blend of classic tracks and Kampire's personal touch, A Dancefloor in Ndola is more than just a compilation; it's a cultural journey that highlights the beauty and significance of African musical traditions.

Review: Always keen to break new ground, Strut's latest compilation comes not from a well-known European or American crate-digger, but rather Kenyan-born, Uganda-based DJ Kampire. A Dancefloor in Ndola sees her look back to her time growing up in Zambia and specifically the music she heard and loved during these formative years. It's a great idea, executed brilliantly, with Kampire showcasing an enticing and highly entertaining mix of East and South African music from the 70s and 80s, including Congolese rumba and soukous, bubblegum, and kalindula, a guitar-led style native to Zambia. It's a joyous an eye-opening collection all told and notable for - aside from the high quality throughout - Kampire's decision to showcase a high number of tracks from legendary and little-known female artists. A genuinely essential collection all told.

Review: Salif Keita is known as the "golden voice of Africa" and now returns with So Kono, an intimate acoustic album that marks a departure from his usual style. Though reporting he was initially hesitant about releasing an acoustic record, Keita who is traditionally a composer rather than a guitarist, was inspired during the 2023 Kyotophonie Festival in Japan where he was surrounded by the tranquillity of a Zen temple and supported by his musicians. He embraced vulnerability and got to work on So Kono, meaning "in the room" in Mandinka, and it was recorded in the intimacy of his hotel room. The album features a mix of new songs and reworked classics with Keita's powerful voice enriching the sounds.

Review: Chain of Light, a newly uncovered gem from Nusrat Fateh Ali Khan, showcases his raw vocal power and mastery of the Sufi qawwali tradition. Recorded in 1990, just before his groundbreaking fusion album Mustt Mustt, this album captures Khan in his prime, performing four traditional qawwalis that had remained hidden for decades. The album opens with 'Ya Allah Ya Rehman', where Khan's vibrato-rich vocals ride a driving tabla and harmonium melody, exuding a deep sense of yearning. His party of singers provides harmonic support, amplifying the piece's emotional intensity. The second track, 'Aaj Sik Mitran Di', moves with more freedom in tempo, highlighting Khan's exceptional ability to weave his voice through slow melodies and then accelerate into breathtaking, rapid-fire sargam passages. 'Ya Gaus Ya Meeran', takes you on a spiritual journey. Unpredictable tempo changes and shifting rhythms leave Khan's voice as the constant force, building to a powerful crescendo. Far from a mere archival release, Chain of Light reinforces Khan's legacy as a qawwali genius at the height of his artistry.

Review: Dick Khoza's Chapita is a South African jazz masterpiece laced with funk and seeped in Afrobeat. As stage manager of Soweto's legendary Pelican Club, Khoza played a key role in cultivating Johannesburg's soul, funk and jazz scene. Inspired by the Afrocentric rock juggernaut Osibisa, he assembled his Pelican Club compatriots for the 1976 session that yielded this landmark nugget of African vinyl history. Mastered from the As-Shams/The Sun label's archival tapes, Tooth Factory present a 2021 edition of this rare classic.

Review: It would be fair to say that Kokoko! are not just dragging the music of the Democratic Republic of Congo into the 21st century, but also pushing it forwards towards the future. That much is proved by this essential debut album, a set full to bursting with thrilling fusions of Kuduro style electronics beats, lo-fi analogue electronics, traditional Congolese instrumentation, hand-played percussion polyrhythms and basslines so weighty they could crush an average-sized person. It's an arresting audio blueprint that guarantees thrills from start to finish. Highlights include the hot-stepping dancefloor sleaze of "Azo Toke", the foreboding, polyrhythmic 21st century punk-funk of "Malembe" and the intergalactic brilliance of "L.O.V.E.".

Review: Since 2017, KOKOKO! has been trailblazing Kinshasa's sonic revolution while earning global acclaim for their unique sound and vibrant performances. Recognised as the best live band by AIF, they've been featured on NPR Tiny Desk, Boiler Room, and major festivals like SXSW and Pitchfork. Their debut album, Fongola, received rave reviews, and now they are back with another album that is unlike much else you will have heard. BUTU, which is inspired by Kinshasa's vibrant nightlife, has been proceeded by the lead single 'Mokili.' The album has further cues taken from Kinshasa, Kwaito, and '90s dance music and channels the band's hometown's frenetic energy with a sense of social activism into a powerful statement.

Review: Avant-garde percussionist, singer, self-taught trumpet player, composer and author. Edmony Krater, since the late 1970s has been a go to reference for French Caribbean music and all things Gwakasonne. This Guadelopean great had been somewhat quiet since the mid 80s, however in 2019, after the recording of a live show for Cult Berlin club night, African Acid Is The Future that received a release via The Vinyl Factory, his light was relit.