Review: Seun Kuti has released his highly anticipated album Heavier Yet (Lays The Crownless Head) via Record Kicks to great excitement. This album, executive produced by Lenny Kravitz and featuring Fela Kuti's original engineer Sodi Marciszewer, marks a significant milestone in Kuti's career. Following his Grammy-nominated album Black Times, this release showcases his evolution as both an artist and activist. The album features six powerful tracks, each embodying themes of resistance, resilience, and revolution. The track 'Dey,' featuring Damian Marley, emphasises self-empowerment, while 'Emi Aluta' pays homage to revolutionaries, featuring the innovative Sampa The Great. 'T.O.P.' critiques societal values, promoting empathy and a connection to nature. 'Love and Revolution' highlights Kuti's belief in love as a catalyst for change. Kuti expressed gratitude for Kravitz's brotherly support and Sodi's guidance during the production process. He continues to uphold the legacy of his father, Fela Kuti, using his music to inspire social change. This album promises to redefine contemporary Afrobeat while staying true to its roots. Fans can expect an album that entertains, inspires and ignites activism.
Review: Occasionally a single comes along that shows off a contemporary group's samplework. 'Hustler's Convention' from Dynamite Cuts is one. This new 7" recalls funk supergroup Lightnin Rod's album of the same name - originally released in 1973, it is renowned for being one of the major influences on hip-hop, bringing a sociopolitical commentary to black music at the time. Here the original track 'Sport', named after one of the album's protagonist hustlers, is blended with the B-side 'Four Bitches Is What I Got', which builds a smoke-filled narrative story involving poker tables and underworld czars around the funk backing.
Review: While Last Poets are rightly regarded as the 'godfathers of rap', others would insist that Hustlers Convention - a 1973 solo album from member Jalal Nuriddin under the Lightnin' Rod alias - had more influence on the birth of hip-hop. In part, that's down to the funk backing he received on the album from his chosen backing bands, which included the mighty Kool & The Gang. Here, Dynamite Cuts prove the point by offering two killer cuts from the set on 7" for the very first time. A-side 'Sport' is a Blaxploitation style delight - all ear-catching horn motifs, shuffling funk breaks, weighty bass, wah-wah guitar and languid spoken word vocals - while 'Four Bitches Is What I Got' sees our hero make merry over a more stripped-back take on the same backing track.
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'.
Susuansu/Nana Bue Me/Yewo Adaagye/Krokrohinko/M'anoma/Moma Yen Sore (15:36)
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: Is there a more genuinely eclectic producer than Kalbata operating right now? We certainly can't think of one. Over the last decade and a half he's turned his hand to everything from dub, techno, dubstep and electro to Balearic beats, downtempo grooves and inspired musical fusions that simply cannot be categorized. His latest excursion - made in cahoots with five-piece Israeli band Tigris -falls into the latter category, offering up a brilliant blend of African and Caribbean rhythms, Turkish psych-funk organ solos, off-kilter electronics, wavy ambient chords and glistening guitars. It's hard to accurately describe but brilliantly produced and hugely entertaining. Don't sleep on this one!
Review: Headed up by Benin-born Kaleta - a guitarist who has previously worked with Fela Kuti, King Sunny Ade and Lauryn Hill - Super Yamba Band is a New York collective whose decidedly psychedelic fusions of Afrobeat, Highlife and Afro-funk have been getting rave reviews. "Medaho" is their debut album and it more than lives up to the hype. With Kaleta's variously fuzzy, sun-kissed and flash-fried licks to the fore, the band trips its way through nine mostly dancefloor-friendly workouts that wrap heavy funk instrumentation, rousing horns and Afrobeat style organ riffs around polyrhythmic drums that recall the distinctive swing of Tony Allen. It's a stylistic blend that guarantees results, as the sheer volume of highlights triumphantly proves.
Review: Karate Boogaloo's latest album, Hold Your Horses, offers a captivating collection of original instrumental tunes from Melbourne, Australia's vibrant soul scene. The album's lead single 'One Hand One Bounce' sets the tone with its spacious and introspective vibe, all moody dynamics that draw the listener in. Drawing from influences like Booker T & The MG's and The Meters, Karate Boogaloo infuse their music with a blend of cinematic tension, whimsical melodies, and eerie discordance, all underpinned by heavy funk grooves. The band's chemistry, developed over 15+ years of friendship and musical collaboration, shines through each track, creating a cohesive, immersive listening experience. Recorded live with no overdubs, Hold Your Horses captures the raw energy and spontaneity of Karate Boogaloo's performances. The instrumental palete, limited to drums, guitar, bass and organ, establishes a consistent tone while allowing for neat shifts and nuanced execution.
Review: Karate Boogaloo are pioneers of Melbourne's cinematic instrumental soul scene, with roots deeply entrenched in the city's DIY soul movement, the quartet's musical journey from high school pals to seasoned collaborators evident in their cohesive sound. Following their acclaimed release Carn The Boogers, Hold Your Horses offers a distinct blend of instrumental funk that we find irresistible. Recorded live with a strict no overdubs policy, the album captures the band's raw energy and tight-knit chemistry. Each track seamlessly flows into the next, blending tension, melody, and funk. Bassist Henry Jenkins, the mastermind behind the band's sound, leads the recording and mixing process, ensuring a consistent sonic aesthetic across the College Of Knowledge catalogue. The collaborative songwriting approach allows the band to expand upon their strengths as musicians and friends. Stylistically, Hold Your Horses draws inspiration from deep funk, European film music and instrumental soul, showcasing a restrained yet dynamic instrumental palette.
Review: High school band directors used to press up their bands' performances to vinyl, & none made as much sweet noise as this "Texas Thunder Soul." Deluxe gatefold package as well as some previously unreleased live music, plus a bonus documentary.
Review: Late, great Japanese guitarist Ryo Kawasaki is behind this classic bit of jazz-funk fusion from 1976. It was recorded originally in New York and now gets a reissue form the hard working Mr Bongo crew. It is a record that has picked dup cult status over the years for those looking for samples and has been pillaged by everyone from Diamond D, Puff Daddy, and Kool G Rap. Playing on the sessions were drummer Jimmy Young as well as rhythm guitarist Hugh McCracken and bassist Stu Woods who all help bring every track to life.
Review: Vibraphonist Khan Jamal has made many fine albums over the years, though few are quite as revered within the jazz scene as Infinity, a self-released set from 1984 that has been near impossible to find for years. While Jamal's fluid and attractive vibraphone playing is given an airing throughout the album, it never dominates the sound space, with the storied members of his backing sextet - including scene legends Byard Lancaster (alto sax, flute) and drummer Sunny Murray - all being given a chance to shine. Musically, it sits somewhere between spiritual jazz, jazz-funk and Latin jazz, with hectic dancefloor numbers (see the superb 'The Angry Young Man') being joined by a wealth of deeper, more laidback compositions.
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: A vibrant blend of political anthems and dancefloor-ready grooves, Gerson King Combo's 1977 album is a powerful and funky testament to the Black Rio movement which linked South America to the street culture of the black America emerging in the 70s. 'Mandamentos Black' sets the tone with its message of racial pride and infectious rhythm, while 'Just For You' and 'Andando Nos Trilhos' showcase a more soulful side to the band. The album's energy is undeniable, with tracks like 'Esse E O Nosso Black Brother' and 'Swing Do Rei' guaranteed to get bodies moving. On the flipside, 'Hereditariedade' and 'Foi Um Sonho So' offer moments of introspection, while 'Uma Chance' and 'God Save The King' deliver powerful messages of hope and unity. 'Blows' closes out the album with a funky flourish, leaving the listener wanting more. This is a must-have for any fan of Brazilian funk and soul, a timeless classic that continues to inspire and uplift.
Johnny April - "She Had A Pikanese" (feat Mat Matthews Quartet) (2:13)
Lu Elliott - "Common Sense" (2:24)
Lloyd Fatman - "No Big Thing" (part 1 & 2) (4:25)
Billy J - "Teacher Teach Me" (3:01)
Wayne Johnson & The Bridage - "Scram Gravy Ain't Wavy" (2:04)
4 Dimensions - "Hipper Snapper" (2:43)
The Villagers - "Funky Broadway" (3:56)
The Rippers - "Honesty" (3:28)
Exceptional Citizens Band - "Proud Mary" (5:38)
Gus Brendel - "Sax On The Rocks" (2:22)
The Hornets - "Seven Days To Tahiti" (2:40)
Bret Breitinger - "Jive Samba" (4:59)
Downtown Trio - "Summertime" (6:21)
ONYX - "Break It Loose" (part 1) (3:16)
The Shake & Bake Band - "Shake And Bake" (part 1 & 2) (6:41)
Lou Jackson - "Outside Looking In" (3:05)
Energy Crisis - "Tough Times Blues" (2:37)
Soul Unlimited - "Do It" (3:02)
Soul Unlimited - "Darkside Of Town" (2:43)
Review: Movements Vol.12 fills a bag of rare rhythm & blues, mod-jazz, and mid '70s funk. Launching on a note of obscure rhythm and blues from the 60s, most of the tracks heard thence were sifted from "hopelessly obscure" 7" singles; hopelessly obscure, that is, until now, when many a ravenous compilation curator seek to restore their honour. With most of the tracks doused in vocal reverb, and coming filled with oodles of commonsensical wisdom and everyday tootling advice, we segue from deepfunk to big band to mood jazz and then back to funk, the most impressive in the lattermost category having got to be the 4 Dimensions' 'Hipper Snapper' and Gus Brendel's 'Sax On The Rocks'; the instrumental side of the record is especially great.
Review: Choice Cuts 1978-1983 gathers eight tracks from four of Mimi's early albums-Sea Flight (1978), Coconuts High (1981), Nuts Nuts Nuts (1982), and Tropicana (1983). Opening with a funky, syncopated take on Sergio Mendes' 'Mas Que Nada' and the crisp techno-pop of 'Coffee Rumba,' all of which mean the compilation showcases Mimi's eclectic style. It also features the synth jam 'Quiet Explosion' and the piano samba 'Espresso.' Two standout tracks from Coconuts High-the sultry 'Crazy Love' and the lively 'Palm Sr'-highlight her playful Latin-tinged jazz fusion. Released on Takanaka's Kitty Records, this collection reveals Mimi's vibrant and innovative artistry.
Review: Kokoroko have been on all world music lovers' radars since their very first and very impressive EP on Brownswood back in 2018. Now we are treated to an expansive and adventurous debut album on the same label that sees the group build on their great early start. Could We Be More has been preceded by new single 'We Give Thanks' and draws plenty of inspiration from the highlife and jazz sounds of West Africa, the Afrobeat and psych-funk sounds of the 70s and plenty of modern broken beat styles. Each tunes swells with emotion and evokes good times.
Take My Heart (You Can Have It If You Want It) (4:01)
Get Down On It (3:32)
Let's Go Dancin' (Oh La, La, La) (3:58)
Straight Ahead (3:30)
Joanna (3:58)
Fresh (3:52)
Cherish (3:58)
Emergency (4:03)
Victory (3:52)
Peacemaker (4:02)
Rags To Riches (3:47)
Celebremos (5:17)
Review: From their early jazz roots to their pop picking party time peak via their late 70s dabbles with disco, Kool & The Gang have dominated airwaves and dancefloors en mass for over 50 years, and this is one of most comprehensive collections of their work ever curated. Obviously all the big hits are present and correct but it's the lesser spotted (but still just as floor poking) jams that really make this collection shine; the hip wriggling "Slick Superchick", the swooning mournful chord changes of "Too Hot" and the sleaziest bassline they ever laid down in the form of "Higher Plane" are but three stone cold killing examples. Good times...
Review: There are a bunch of reissues of classic Fela Kuti albums dropping right now which is always going to be good news for collectors and Afrobeat lovers a like. As was often the case with his music, this album Kalakuta Show from 1976 was a way of him taking revenge on the military regime that attacked and brutalized him two years prior when the police mounted a large scale raid on Kalakuta Republic incoming Fela's own heavily guarded compound. They were the second raids in eight months and left Fela with scalp wounds and a broken arm, and us with this most remarkable musical retort.
Review: Rather bizarrely, Fela's London Scene was recorded at Abbey Road Studios in 1971, but didn't get a UK release until the mid 1990s. This is the first time it has appeared on wax since. While the legendary Afrobeat pioneer and his equally revered backing band, Africa '70, may have been in unusual surroundings, the music showcased on the album was pure Nigerian Afrobeat gold. With Fela in fine form on the mic, and Africa '70 providing typically punchy, horn-heavy backing, tracks such as "E Gbe Mi O", "Buy Africa", and "Fight To The Finish" are every bit as good as anything they recorded in their Lagos studio. "Who're You", with its' changes of intensity and gentle progressions, is particularly good.
Review: Nigerian Afrobeat composer, bandleader, and multi-instrumentalist Fela Kuti has a vast catalogue that dates back over half a century. Roforofo Fight is one of the many standouts and it was recorded in Lagos in 1972 on the Jofabro label with the legendary Tony Allen on drums as well as Christopher Uwaifor on tenor, Lekan Animashaun on baritone and many other key players alongside the main man. The lyrics convey Fela's frustration at intolerant and violent behaviour as told through the story of a street fight.
Review: Like so much of his often faultless work, Original Sufferhead by Fela Kuti is a powerful and politically charged album that embodies the essence of Afrobeat. For that reason, it is well deserving of this reissue as it remains relevant in more ways than one all these years after its original release in 1981 with its signature blend of funk, jazz, and traditional African rhythms, coupled with biting social commentary. The album confronts issues of oppression, corruption, and inequality, with Fela's impassioned vocals leading the charge. Each track is a call to action, urging listeners to rise against injustice and oppression. With its infectious grooves and thought-provoking lyrics, this is a timeless listen that continues to inspire and resonate with audiences around the world.
Review: Destination Nigeria, 1975, Fela and Africa 70 are indelibly locked into a hugely prolific groove with well over 10 albums behind them. Then they release this, an LP comprised solely of two wondrously extended work outs from the troupe. "Expensive Shit" famously tells the tale of Fela's brush with the jaded law while "Water No Get Enemy" speaks - or rather sings - for itself. One of Fela's many notable and hugely influential releases; your collection isn't complete without it.
Review: Regarded by many as Fela and The Africa 70's zenith, Confusion is 26 minutes of total Afrofunk immersion delivered over two sides. Gradually building - thanks largely to Tony Allen's dynamic drum work that's as delicate as it is powerful, Fela's dreamy, almost jazz-like keys and a rigid, spine-like rhythm guitar - the groove and narrative is developed with a natural sense of well-instrumented drama. A genuine classic, if your collection isn't blessed with this now is most certainly the time.
Review: Fela Kuti's Alagbon Close, released in 1974, stands as one of his most powerful Afrobeat statements, criticising police brutality in Nigeria. The title track was inspired by two raids on Fela's home, where police searched for marijuana. After swallowing a planted joint, Fela was detained at Alagbon Close, the headquarters of Nigeria's Criminal Investigation Department, for three days while police waited for evidence. His cellmates, in what became known as the Kalakuta Republic, helped Fela escape prosecution. Fela's lyrics denounce the arrogance of the police, declaring that wearing a uniform doesn't place one above the law. The album also marked the beginning of his collaboration with artist Ghariokwu Lemi, whose iconic cover art became synonymous with Afrobeat. Recorded at the A.R.C. Studios, the album is fueled by tight polyrhythms and fiery organ and horn sections, with Fela's sharp political commentary at the forefront. On Side-2, 'I No Get Eye For Back', offers a more groove-driven, mostly instrumental track, showing the collective talents of Africa 70. Together, these tracks solidify Alagbon Close as a timeless work of rebellion and musical innovation.
Review: Originally released in 1972, Shakara is a shining example of Fela Kuti & The Africa 70 in full flight. Made up of two 13-minute long pieces, the definitive Afrobeat sound is laid out in undulating, impossibly funky form. Tony Allen holds it down on the drums and the brass section from Tony Njoku, Igo Chico, Lekan Animashaun and Kuti himself punches out with urgency. This 50th anniversary release does things a little differently by inviting the excellent Ezra Collective to deliver their own versions of each track, each getting their side to lay down expansive reflections on the trailblazing groundwork laid by Kuti and his bandmates half a century ago.
Review: Fela Kuti lives on! This is the 10th Anniversary reissue of the classic tribute album Red Hot & Fela, pressed on opaque banana yellow and opaque red vinyl, with proceeds benefiting the Red Hot organization. Since his death in 1997 from complications related to AIDS, Fela Kuti has grown from a West African household name and musician's musician in Europe and the Americas, to a worldwide musical icon. This album hears thirteen collaborative supergroups - made up of stars including Childish Gambino, Kronos Quartet, Spoek Mathambo, Sinkane, Tune-Yards and Baloji & L'orchestre De La Katuba - pay tribute to the Nigerian musician and activist, taking after him in style and cover. Successful, they translate the Afrobeatific sound of Kuti, Africa 70 and Egypt 80 towards an electrified present and future.
Review: Seun Kuti is set to release his highly anticipated album Heavier Yet (Lays The Crownless Head) with Executive produced by Lenny Kravitz and Fela Kuti's original engineer Sodi Marciszewer, promises to redefine contemporary afrobeat while honoring its roots. The album features six powerful tracks, including collaborations with Damian Marley on 'Dey' and Sampa The Great on 'Emi Aluta.' Each song embodies themes of resistance, resilience, and revolution, addressing societal issues and personal struggles. Seun Kuti describes the project as special, highlighting the support and guidance from Kravitz and Sodi. This album not only showcases Seun's growth as an artist but also his unwavering commitment to social change and empowerment. Heavier Yet (Lays The Crownless Head) is poised to entertain, inspire and ignite a spirit of activism and liberation.
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