Review: The Black Truth Rhythm Band is renowned for its Afrobeat fusion - a sound that very much epitomizes the vibrant spirit of 1970s funk and soul. Their iconic album 'Ifetayo (Love Excels All)' stands as a testament to their musical prowess and social consciousness. It has been fully remastered here with all its pulsating rhythms, infectious brass, and impassioned vocals transcending time to deliver a message of love and unity. Rooted in the African diaspora experience, the band's music serves as a rallying cry for social justice and cultural pride. Ifetayo remains a timeless work that still resonates with audiences worldwide thanks to its potent blend of groove and meaning.
Review: GC Cameron was born and raised in McCall Creek, Mississippi, and by the age of 22 he was already famous having joined Motown Records. He was signed up as lead singer of the legendary group The Spinners and had several web recover tunes and a few hits such as 'It's A Shame,' which was co-written and produced by Stevie Wonder. After that, Cameron left the group and went solo and teamed up with Harvey Faqua, Greg Crockett and Elgie Stover to record his best-ever work, which now makes its way onto this fine four-track EP courtesy of Soundway.
Review: Percussionist Cory Champion led the Clear Path Ensemble and the band' self titled debut album came in 2020. They followed it up with some stunning live performances and now sit at the forefront of the bubbling new jazz scene in Wellington, New Zealand. Their approach is to jam and to cook up DIY sounds with inspiration from 70s ECM catalogue as much as London's fertile broken beat scene, by the sounds of it. This ambitious record is lush and colourful, with glorious synths and catchy melodies over jazzed up beats that elements of electric sounds with introspective moods.
Review: The debut album from Bahraini-born, British-based musical duo Dar Disku is a celebration of their Arabic heritage and multicultural influences that melds golden age West Asian and North African sounds with a contemporary dancefloor focus. The eight-track record hears the duo traverse their West Asian and North African origins and bring them back to their current place of residence, crossing from disco to Rai, from piano house to Turkish psychedelia, and all manner of other cross-Med import-exports. From the degage Turkish psych prog-house builder 'Sabir' with Billur Battal, to the penultimate piano-breaks rattler 'Galbi', this is a chilled and wavering dance release primed for bridging international gaps.
Review: Eelco Topper's latest release as FELBM is a conceptual affair, with the Dutch producer delivering a 38-minute piece (here split into two parts for vinyl, each of which finishes with a locked groove to give the impression of the track creating an infinite musical loop) that mixes and matches tape loops, cyclical samples, repeating melodic motifs and pastoral-sounding snatches of flute, bansuri, bass trumpet, saxophone and pedal steel. While the concept, inspired by the artist's thoughts about 'the cyclical nature of the world around him" is important, of more significance is the utter brilliance of the piece itself - a genuinely gorgeous, warming, atmospheric and ambient-leaning concoction tailor-made for imagined afternoons in the countryside and woodland walks at dawn.
Review: Expert reissue label Soundway look to 1980s Trinidad & Tobago for their latest rare gem. Two cuts of "Parang" - a sort of South American folk music originated from Venezuelan and Colombian immigrants and later infused with Caribbean rhythms, disco and soca vibes. As such both tunes are impossibly sunny, uplifting and loose groovers that will work dance floors into a spin at any time of year. Colleen Grant's take on the style is driven by a neat funk baseline coupled with her glorious vocals, while Sandra Hamilton's is more down and dirty with rump wiggling drums.
Review: Blending reggae, disco, soul, funk and roots - comes the reissue of the highly sought-after 7" from 1979 by Gypsy Fari, the first known reggae outfit from Chicago, born in the south side of the city after a chance meeting between St Kitts expat Leroy Webster and local music graduate Kevin Coleman. The pair set out to blur the boundaries of genre with their unique brand of music, spearheaded by Webster's Caribbean roots and fused with the soul and blues of the midwest.On the A-side, 'Chi-Town Reggae' springs out the gate with fast-paced disco-reggae, powered by a relentless rhythm section and Webster's infectious vocal melody. On the flip, 'Hail Jah' is a swaggering, deep roots reggae cut that pays homage to Webster's heritage - which he wrote on the hilltops of the outskirts of Kingston, Jamaica.
Review: Jeremie Moussaid Kerouanton, simply known as iZem around our circles, is a new face on the downtempo scene, and one which we'd very much like to see more of. Luckily, he's returned with his debut album, and it's on the incorrigible Soundway label; we probably mention it often, but it is one of our meccas when it comes to the leftfield end of the spectrum. This is a proper album and, by that, we don't mean that it sounds good and that every track is amazing; we mean that it works as one single body of music, a real 360 degree view of iZem's point of view. The tracks are as varied as the sounds in them, and from Eastern vocals to improvisational tribalism and subtle waves of deep house, we feel that this is the sort of LP that'll appeal to many different sorts of collectors. The house-heads will like it for its sensibility to other genres of music, the balearic fiends will find it naturally welcoming, and the folk fans will find plenty of inspiration. Don't miss out on this, it's a keeper.
Review: The Lahaar is a Trans-Tasman collaboration between Julien Dyne, Horatio Luna and Surprise Chef's Lachlan Stuckey, featuring Mara TK and Toby Laing on vocals. Channeling a heady cocktail of inspirations from New York to Lagos, the supergroup easily moves through different styles in quick succession, from uptempo boogie to mega-ploddy dub. Seguing between original bangers and exploitation movie library music, the EP closes on the riveting 'Chase Scene (Part 1)', which casts evadign tjhe law in a surprisingly emotive light.
The Sweetest Meditation (feat Mara TK - club mix) (6:32)
The Sweetest Meditation (feat Mara TK) (5:55)
The Sweetest Meditation (feat Mara TK - Julien Dyne remix) (6:28)
The Sweetest Dub (6:16)
Review: Soundway Records' marketing team recently described Lord Echo's hook-up with Mara TK, "Sweetest Meditation", as a "high-rolling summertime opus". It's certainly rather good and well worthy of a dedicated 12" single release. The wonderful, jazz-flecked, vibraphone-heavy, dub-disco style original version is featured alongside a brand new Black Ark style instrumental dub (appropriately titled "The Sweetest Dub") which is almost worth the entrance money on its own. There are two fresh remixes, too, from old pal Julien Dyrne and the Lord himself. His "Club Mix", completed on a recent European tour, pushes it further towards leisurely vocal deep house territory whilst retaining many of the elements that made the original version such a sun-kissed summer treat.
Review: Curiosities is the second album in the trilogy from in-demand New Zealand multi-instrumentalist and producer Lord Echo. Six years after initial release, this reissue sounds as vital as ever and is extra DJ-friendly given that it is spread across two slabs of wax. It covers plenty of ground from escapist tropical ambient to lovably lazy dubs via vivid disco-funk. Highlights come in the form of "Molten Lava" and its heart wrenching vocals and the gospel grooves of "The Creator Has A Master Plan". Winter might be fast approaching, but so long as you have sounds as warm and sunny as these around, summer will never feel too far away.
Review: A special summer-tuned dedication to two of Africa's most creative contributors who both passed away at the birth of the New Year. First up, South Africa's Shaluza Max's 2002 classic gets the revisitation it deserves; big accordions, honeyed Zulu vocals and a chugging groove that could plough into any dancefloor under the sun, it struts with a timeless sense of universal groove science. Flip for a rewind to the mid 80s as Soundway pays tribute to the hugely prolific Tabu Lay Rochereau. Complete with smooth, soothing synths, show-stopping harmonies and slinky bassline that won't quit, it's as heart-rending now as it was 30 years ago.
Review: Since it was first reissued a few years ago, Steve Monite's Only You album has gone from being a stupidly rare Nigerian boogie "holy grail", to an easy-to-access "must have" for anyone with even a passing interest in African disco and electrofunk. If you've yet to acquire a copy, we'd recommend picking up a copy of this officially licensed Soundway repress. It contains two different takes on the now anthemic 'Only You' - an infectious Lagos boogie delight - plus the pleasingly dubbed-out, piano-heavy electrofunk gem 'Things Fall Apart (Disco Jam)' (the original mix is also included at the end of side B), the slick and sweet 'Welcome My Love' and the more downtempo 'I Had a Dream'.
Review: Portuguese multi-instrumentalist, producer and DJ Pedro Ricardo serves up his debut album here and it is a thrilling fusions of sounds. He draws on his many different skills and loves and collides jazz, traditional Portuguese folk and fresh electronica into a journey that is bold, adventurous and draws on themes of love, longing and nostalgia. The percussion throughout is truly vibrant, the vocals are whispered and subtle and the keys soar next to delicate guitars. You won't have heard an album as free in expression as this for a while.
Review: Soundway surpass themselves again with this wonderful reissue from the Ghanaian artist Rob, who released two albums back in 1977 for the West African Essiebons label. Rob was a seasoned musician in the 70?s, having recorded and toured with many well known bands. The album is a somewhat Spartan, brooding affair where less is most definitely more as slow burning, hip swaying cosmic funk drenched compositions are offset by wonderful punchy brass arrangements. A slow burning pulse is present throughout with highlights being ''Loose up Yourself'' and the irreplaceable carnal conquest anthem '' Make it Fast, Make it Slow''. Songs of celebration sit alongside other pieces of introspection and socially conscious topics; some might criticise the odd duff notes and occasional raw vocal edge, but this just adds texture to the overall performance and vibe. Without question one of the best reissues of 2012.
Don't Wanna Be Your Lover (feat Raymond Ledon) (5:36)
Get It In The Sun (feat Olugbade Okunade) (5:22)
Review: Sai Galaxy is a collective that draws inspiration and influence from 70s and 80s Nigerian artists such as Nkono Teles, Jake Sollo and Mike Umoh. Australian multi-instrumentalist Simon Durrington leads the way with Olugbade Okunade - former trumpet player from Seun Kuti's Egypt 80 - as well and guests Gabriel Otu, Ray Ledon and Vanessa Baker also playing on these sessions. There is everything from West African funk to a touch of psychedelia, with dance floor ready tunes like 'Get It In The Sun' irresistible to all who hear it.
Review: The star-studded Sai Galaxy project returns, bringing together West African legends Steve Monite and Rob with multi-instrumentalist Simon Durrington, guitar maestro Alfred Bannerman, and Egypt 80 trumpet player Bade, for a second EP of vital Afro-disco and soul. Following up 2020's 'Get It As You Move' EP, the likes of 'Sometimes It Rains', the homonymous 'Okere', the truth-to-power 'Rich Man, Poor Man', and the live and swinging coda 'Hold Me Tonight' paint a multifaceted picture of a trio, equally as concerned with groove delivery as they are with narrative storytelling. Most emblematic of Sai Galaxy's approach is their inspiration by analog production techniques of similar Afro-soul albums from the 1970s and 80s, adding a modern touch informed by Simon Durrington's Digital Afrika project.
Lexy Mella - "On The Air" (Rap mix - Frankie Francis edit - bonus 7") (3:47)
Review: Soundway offer us a new compilation featuring 20 rare tracks from the currently much talked about world of Nigerian pop music; a zeitgeist of their early 1980s club culture. The country's economy was booming at the time and so was its recording industry. Strongly influenced by '70s disco and funk, this new generation were, as the liner notes explain "Eager to sound as American as possible with no hint of the fervour for afro-beat, afro-rock and afrocentric thinking that the 1970s had thrown up". The original albums that many of these singles came from go for exorbitant prices online, so here's a chance to snap up some of the periods finest music, remastered across three 12"s.
Hafusa Abasi & Slim Ali with The Yahoos Band - "Sina Raha"
Nashil Pichen & The Eagles Lupopo - "Ng'ong'a Wa Mwanjalo"
Nairobi Matata Jazz - "Tamba Tamba"
The Lulus Band - "Ngwendeire Guita"
Mbiri Young Stars - "Ndiri Ndanogio Niwe"
The Lulus Band - "Nana"
Afro 70 - "Weekend"
The Rift Valley Brothers - "Mu-Africa"
DO 7 Band - "HO Ochiri"
Afro '70 - "Cha-Umheja"
Peter Tsotsi Juma & The Eagles Lupopo - "Kajo Golo-Weka"
New Gatanga Sound - "Thonia Ni Caki"
Sophia Ben & The Eagles Lupopo - "See Serere"
Kalambya Boys - "Kivelenge"
The Loi-Toki-Tok Band - "Leta Ngoma"
Huruma Boys Band - "Theresia"
Orchestre Veve Star - "Nitarudia"
The Mombasa Vikings - "Mama Matotoya"
The Lulus Band - "Mutumia Muriu"
Ndalani 77 Brothers - "Nzaumi"
Review: Having explored the rich heritage of Nigeria and Ghana with well researched vigour, Soundway turn to Kenya for their next adventure... A rare insight: while Lagos was churning out seminal Afrobeat compositions, Kenya took to western influences in a much subtler fashion. With heavy emphasis on the Kenyan benga and Afro-Cuban rumba there's a much deeper, local folk presentation and format throughout most of the selection. Complete with detailed notes and beautiful presentation (like all Soundway compendiums) this won't look out of place in any collection.
Ze Spirits Band - "Tucheza" (Esa extended mix) (5:00)
Nonku Phiri - "Sifo" (feat Dion Monti) (4:27)
Os Panteras - "Melo Do Anjo" (Outra edit) (4:54)
Pascal Latour - "Lague Yo" (Boulo edit) (5:58)
Masalo - "Yera" (feat Doussou Koulibaly) (6:24)
Esa - "Pantsula Traxx" (4:38)
Narchbeats - "Cheeks" (3:41)
DJ Spoko - "#Justsnares" (4:02)
Review: Inspired by his own experiences growing up in apartheid-era South Africa and his travels through music, Esa Williams has put together a compilation of contemporary electronic music from around the world. "Amandla: Music To The People" is well worth your attention and contains some genuine gems. Highlights come thick and fast throughout, from the percussive, chant-along sweatiness of Penny Penny's "Shilungu" and the loved-up, pitched-down dreaminess of Alaska's "Accuse (Instrumental)", to the sweet, life-affirming cheeriness of Os Panteras' "Melo Do Anjo (Outro Edit)" and the thrusting, Italo-disco style dancefloor masculinity of Masalo's "Yera". Esa's own late '80s style pitched-down South African house jam "Pantsula Traxx" is also superb.
Review: The impeccable Soundway Records is back with another essential companion, this time in the form of Nigeria Special Volume 3: Electronic Innovation Meets Culture & Tradition 1978-93, which presents a collection of 19 tracks capturing the unique musical transformation in Nigeria during a pivotal era. This compilation reflects the fusion of drum machines, synthesisers and Western influences like pop, reggae, disco and soul, all blended with traditional Nigerian genres like highlife and juju. It represents a period of innovation where new technology was used to reimagine and refresh cultural sounds and what results is a bold new sounds that is going to be lapse dup by fans of names like Steve Monite and Charles Amoah.
Review: Soundway Records deliver a new compilation, delving deep into the many obscure and experimental disco cuts laid to record in 70s and 80s Southeast Asia. Here Soundway's longtime general manager Alice Whittington (aka. DJ Norsicaa) steps into the limelight, embracing her Malaysian heritage and selecting music from her heavy collection of Asian records. Taking its namesake from the Indonesian phrase for "let's go to the disco", Ayo Ke Disco spans ten rare slices of disco-funk, psychedelic funk, synth, city pop and Hindustani-Arabic rhythms, all painstaking licensed from the local labels whose efforts still often persist some forty years on.
Review: New to Soundway Records comes this second edition of Ghana Special, a comprehensive compilation of '80s Ghanaian-diasporic highlife and its embrace of synthesiser and new wave elements. 20 years on from the first compilation in the series, which was released in 2009 and focused on modern and contemporary forms of highlife, this second volume focuses more on tracing the development of the sound as it took on increasingly synthetic forms. The scheme of things goes something like this: drum machines and synthesisers appeared alongside lilting guitar lines and punchy horns, and Ghanaian musicians began incorporating US disco and boogie, r&b, European new wave, and Caribbean zouk and soca into their music. A kind of socioeconomic history lesson conjoins this musicology: the eighties saw unrestricted migration policies in Western nations in the postcolonial era, which enabled new crossover industries to flourish. Thus the music you hear on this compilation was born, and thrived, and continues to thrive.
Review: The Yoruba Singers reinterpreted Guyana folk music and infused it with Afro-roots and culture on this double A-side 7". Now for the first time every it gets reissued on vinyl. This release came a year after the group's debut album Ojinga's Own and were recorded in Barbados and released on the Green Shrimp label. They were big regional has with dancers lapping the grooves throughout the Caribbean and South America. The sounds are said to be the building blocks for what went on to become known as the Champeta Criolla sound in the Caribbean coast of Colombia.
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