Geraldo Pino ‎– Boogie Fever

When Geraldo Pino rolled into town from Sierra Leone with his Heartbeats, Nigeria had never seen anything quite like them. Slick, tight and playing the latest James Brown-style funk on the very expensive equipment, they soon had the country in their thrall. ‘Made me fall right on my ass!’ a chastened Fela Kuti remembered in 1982. Fans of Geraldo’s disarmingly eloquent enunciation on early albums - re-issued soon by PMG - may shocked the gruff, rawer tones on Boogie Fever. The album starts with a jaunty reggae track extolling the virtues of ganja and, later, ‘Dance Fever’ sounds like it was recorded down in Trenchtown after Geraldo had taken a toke or two of his own advice. Even the more traditional funk tracks like ‘African Hustle’ have a darker, more threatening vibe. Not that that is a bad thing. Boogie Fever is the sound of consummate musician letting his hair down. Or in Geraldo’s case, letting it grow into a tight afro and not bothering to watch his Ps and Qs anymore. - Peter Moore,

"Geraldo Pino came to Nigeria from Freetown in Sierra Leone in 1968 with his band THE HEARTBEATS and quickly changed the music scene completely. He was the first bandleader that brought sophistication into show business. He owned the best musical equipments, his costumes on stage was fantastic, his musicians were good looking guys with afro hair styles. His drummer then was Francis Foster who later played percussion with Paul Simon. Pino got the title of THE HARDEST WORKING MAN IN SHOW BUSINESS in Nigeria. Girls loved him. I later joined his band with new set of musicians in 1974 as a singer while he based in Kano in the north of Nigeria. To survive in Nigeria those days as a musician you have to be very good on stage and Pino was. His stagecraft was exhilarating, his costumes were dazzling, he command the band and his audience wherever he played with his dancesteps and he became an inspiration to many Musicians. He later moved to Port Harcourt where he lived and died many years ago. Though he is dead, his music lives on through his many songs and this vinyl in your hands. His memory also lived with those who watched him on stage. Ladies and gentle men, this is GERALDO PINO!"

Steve Black


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"What's that Discogs? One copy for sale for £4,495.86? Fuck that! I'mma get this official reissue on the rather marvelous PMG if it's alright with you..."

Second hand piss-takery aside, this late 70s slice of groove heavy Afro-funk regularly changes hands for a monkey, so your bank manager should be thanking those fine folk in Austria. Drawing on reggae, disco and funk, Mr Pino gets up, down and all the way around across six party starting, largely instrumental offerings. Any record which starts with a buoyant reggae-disco ode to Barry's favourite plant life ("Ganja") is gonna be dope (ahem!), but when we're then taken through a bordering on ludicrous Afro-funk rendition of Beethoven's 5th, you know we're in safely wasted hands. You could easily assume this discoid arrangement would be whack, but you'd be better served throwing some shapes to the buzzing Moogs, chiming keys and wild wah guitar which make this beast purr. Things straighten out for the full steam ahead funk of title track "Boogie Fever" before "Dance For Love" opens the flip with a weirdo reggae lilt. If you're looking for the best party of your life condensed into five and a half minutes, then you should probably cast an ear over "African Hustle", crack your knuckles and dive into air piano ecstasy. After that Moog-led madness, there's just enough time to spark one up to the Afrobeat-meets-reggae of "Shake Shake Shake" before the run out groove reminds you it's time to pick the kids up from school. Killer!

piccadillyrecords.com

Tracklist

A1	Ganja (Ganja)
A2	5th Bethoven Africana
A3	Boogie Fever
B1	Dance For Love
B2	African Hustle
B3	Shake Shake Shake

 

From Nigeria: Mary Afi Usuah ‎– African Woman

Mary Afi Usuah trained as an a opera singer at the prestigious St Cecilia Academy in Rome and spent 13 years touring Europe with artists like Duke Ellington and Deep Purple. She matched vocal chops with Robert Plant performing with Led Zeppelin and blew away the top names on the Lagos scene when she returned to Nigeria. She also broke a few hearts with her killer smile, if some accounts are to be believed. African Woman marshals these experiences into an exceptionally powerful and diverse album. From the Tina Turner stomp of ‘What’s A Woman To Do’, to the Aretha-style musings of the title track, Mary takes everything she learned on the road to tell her story about her continent in a distinctly African manner. The boys from Akwassa were on hand to ensure that everything was kept extra tight and funky. Mary Afi Usuah only released two albums but she is undeniably one of the greatest female singers the African continent has produced. African Woman serves as her legacy, along with the remarkable number of Nigerian female singers she mentored and inspired. - Peter Moore

"I met MARY AFI USUAH in 1979 while I was the lead singer with TEE MAC COLLECTION. We were based at SURULERE NIGHT CLUB in Lagos, Nigeria. She came in from Calabar in the Cross river state. She was a beauty with her afro hair and had a very strong voice and very powerful on stage. Her performance was electrifying. She did a lot of shows with us and together we got the crowd rocking. A very dark complexioned lady, she was full of life and love. Her smiles would sweep any man off her feet instantly and I immediately recognized a talent that go all over the world. Her music is a blend of African rhythms, soul and funk with heavy bassline. I am glad to let you know that the vynil you have in your hands now contains music that will tickle all ears for a very long time. Happy listening."

Steve Black

Tracklist
 
A1. Tell Me Now
A2. Kam Fat Owo (Mbata)
A3. What's A Woman To Do
A4. African Woman
B1. Sweet Elijah
B2. Spread More Love
B3. Our Generation (Ode To Our Nation)
B4. Tenkim Kpoho

The Brighton Beat - Hear And Now

Driven by a unified belief in real people playing real instruments expressing real human emotions, The Brighton Beat's goal is to create music that is able to live, breath and develop, with songs that allow the musicians to communicate and tell a story through carefully crafted melodies and inspired solo passages. Real world experiences and an inherent knowledge of jazz set them apart from the crowd. This is a band of working professional musicians looking to make a name for themselves in the ever burgeoning Afrobeat scene. Heavily influenced by Afrobeat pioneer Fela Kuti, but in no way traditional, The group creates grooves reminiscent of Herbie Hancock, at times reaching the raw, unbridled expression found in the music of Miles Davis and Freddie Hubbard.

The Brighton Beat is centered around a strong rhythmic foundation of bass, drums and dense percussion. Varying textures of unique, vintage keyboard and guitar sounds help to thicken the compositions. Leading the group, the adventurous horn section bring their heavy jazz influence to the forefront. Bassist Ryan Hinchey and Drummer Sammy Wags established their groove during recording sessions and national tours with various funk and reggae outfits (iLa Mawana, 6th Degree, The Hub Dub). The horn section leaders; Jon Bean (tenor sax) and Mark Zaleski (alto sax) came together while studying jazz at the New England Conservatory. Upon finishing they quickly established themselves as first-call session players for many of Boston's highest regarded jazz projects, all the while cultivating their own ideas, and exploring the different styles of music that influence The Brighton Beat's diverse catalog.

The Brighton Beat stormed onto the scene with their debut; "The Brighton Beat EP" in 2010, and have since hit the ground running, performing at premier venues around greater New England. Their first full-length album; "The Brighton Beat LP" released in 2012, has been critically acclaimed, receiving numerous glowing reviews and has been featured on commercial/college radio and has been used in independent films. The Brighton Beat's follow up album, "Off We Go" was released in January 2015 and has been distributed around the world.

thebrightonbeat.com

Unfortunately cannot find any review for the new album ...

... please just check it out at their bandcamp!

Career Retrospective For Highlife Master Pat Thomas

This Fall, we’re proud to present the first full career retrospective release for Ghanaian highlife master and “The Golden Voice Of Africa,” Pat Thomas, covering his late ‘60s big band highlife recordings through to the “burger highlife” movement of the early ‘80s. With Thomas currently wowing audiences on the road in support of last year’s incredible album with Kwishibu Area Band, Coming Home offers listeners a chance to get to know Thomas’ singular career.

One of Thomas’ earliest tracks, with the Ebo Taylor lead Broadway Dance Band, is streaming below. The partnership with Taylor would become one of the enduring forces in Ghanaian music during the ‘70s, creating a fresh, progressive new highlife sound. “Today, highlife has become the world’s music,” says Thomas, “and I am proud to still bring it to so many people.”

Pat Thomas – Coming Home is released 30th September on 2CD, 3LP and digital formats, and features exclusive photos and a full interview with Pat Thomas. Pre-orders are available now.

Strut Records.com

Pasteur Lappe - African Funk Experimentals (1979 To 1981)

Amazing compilation of Cameroonian funk master Pasteur Lappe. 

"The story begins in the 60s with a charming 19 year old Nicolas "Pasteur" Lappe becoming a sensation on Radio Adele in Douala Cameroun. He goes on to become the editor of Douala Gazette newspaper and become friends with other African music stars such as Tala AM, J Moboule and Fela Kuti. He also works tirelessly promoting new and upcoming local Cameroonian talent. After moving to Paris, a stint in Journalism school and publishing a book of poems "Chansons Negres" he finally settles into a new life of music in Paris.

Our hero makes a trio of albums from 1979 to 1981 with backing band and production collective called the Zulu Gang which include Douglas Mbida (who goes onto release several top flight albums himself) and Jacob Desvariaux (who went on to form Kassav). The three albums are full of diverse sounds; from driving funk, sweeping disco grooves, syrupy ballads, reggae, Jackson-five-esque pop to finger-lickin' soul. At their core though is the "Sekele" groove...; a movement to encompass the dance, grooves and vibes from his native Douala.

Our album opens up with the pulsating percussion and floor-filling bass groove of "More Sekele Movement". We then move onto Africa Seven favourite "Na Real Sekele Fo'Ya" which takes stabby moog bass synth to a whole new level of grooviness. "Sanaga Calkpso" is more experimental in comparison its moog groove would go onto to form the basis of a highlight of the debut Kassav album. "Hiembi Nin" is a song in two parts; half Shaft groove and half synthy Calypso. "Back To Funky" is dance funk and features Maryse Lappe guesting on vocals.

Opening up on side two of the record is the Rhodes and sax led jazz funk of "Mbale", followed by the clavinet groove, sleezy brass and politically charged lyrics. "Sekelemania" is a cool piece of tropical, calypso funk. Lead track from Album 2, the single "ABC" is stomping afro, pop funk delight closes proceedings."

boomkat.com
 
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In terms of being an afrobeat legend, Pasteur Lappe is Cameroon's Fela Kuti, an unsung hero who was ahead of the game back in the 1970s and 1980s, and one whose been famous for burning the pockets of many diggers nowadays. Luckily, Africa Seven have compiled some of his best work onto a ten-track LP, ranging from the funky oddities of "More Sekele Movement" or "Na Real Seke Fo'ya", to the future-zouk sound of "Sanaga Calypso", and plenty of jazzy, popped-out, disgruntled soulfulness to satisfy anyone from Gilles Peterson to Cherrystones. Heavy and warmly recommended.

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Next up on Africa Seven is the second edition of our African Funk Experimentals LPs. With these we took some of our favourite African artists, choose the most funky we can find and then put together a compilation of their choicest and funkiest tracks. Of course that may not be their most popular or best selling tracks...; but that's just fine. We are digging for the funk.

Step forward Cameroonian funk master Pasteur Lappe. The story begins in the 60s with a charming 19 year old Nicolas Pasteur Lappe becoming a sensation on Radio Adele in Douala Cameroun. He goes on to become the editor of Douala Gazette newspaper and become friends with other African music stars such as Tala AM, J Moboule and Fela Kuti. He also works tirelessly promoting new and upcoming local Cameroonian talent. After moving to Paris, a stint in Journalism school and publishing a book of poems Chansons Negres he finally settles into a new life of music in Paris.

Our hero makes a trio of albums from 1979 to 1981 with backing band and production collective called the Zulu Gang which include Douglas Mbida (who goes onto release several top flight albums himself) and Jacob Desvariaux (who went on to form Kassav). The three albums are full of diverse sounds; from driving funk, sweeping disco grooves, syrupy ballads, reggae, Jackson-five-esque pop to finger-lickin' soul. At their core though is the Sekele groove...; a movement to encompass the dance, grooves and vibes from his native Douala.

Our album opens up with the pulsating percussion and floor-filling bass groove of More Sekele Movement. We then move onto Africa Seven favourite Na Real Sekele Fo'Ya which takes stabby moog bass synth to a whole new level of grooviness. Sanaga Calkpso is more experimental in comparison its moog groove would go onto to form the basis of a highlight of the debut Kassav album. Hiembi Nin is a song in two parts; half Shaft groove and half synthy Calypso. Back To Funky is dance funk and features Maryse Lappe guesting on vocals.

Opening up on side two of the record is the Rhodes and sax led jazz funk of Mbale, followed by the clavinet groove, sleezy brass and politically charged lyrics. Sekelemania is a cool piece of tropical, calypso funk. Lead track from Album 2, the single ABC is stomping afro, pop funk delight closes proceedings.

The nostalgic poet, with Africa at his essence Pasteur Lappe, we salute you.

kudosrecords.co.uk 

Tracklist

A1	More Sekele Movement (Papa Ni Mama)	3:58
A2	Na Real Sekele Fo'Ya	6:21
A3	Sanaga Calypso	3:30
A4	Hiembi Nin (Hymne A La Vie)	3:45
A5	Back To Funky	3:26
B1	Mbale (Face To Face With The Truth)	3:48
B2	Na Man Pass Man (Na Iron De Cut Iron)	2:55
B3	Hommage A Eraste Nkom	5:31
B4	Sekelimania (Nku Bilam)	3:47
B5	ABC	3:08

Heads Funk Band - Hard World

Hard World is the first of three albums released by Heads Funk Band and it's one of the most rare LPs coming from Nigeria. What we have here is a pure, well crafted Afro-Funk. Heads Funk Band is related to Akwassa, where both are two exceptional bands with the same members, but co-existed simultaneously featuring Felix Odey (Feladey) on guitar and Eddie Offeyi on drums. The original forming duo of Akwassa was Felix Day / Feladey (guitar, vocals) and Kevin Coburn (keyboards, synths, vocals), who collaborated with guest musicians, which later turned out to be the actual Heads Funk Band. Some rumours say all of them were in both bands and musically speaking we can hear a lot of similarities. Akwassa released two incredibly rare albums, while Heads Funk Band managed to release three LPs, of which Hard World is the most hard to find.

preschmedia.bandcamp.com

Tracklist

01. Hard World
02. Money Makes You Happy
03. Can You Do It
04. Jesus
05. Egbe Bere Ogo Bere (Live And Let Live)
06. Hot Punk
07. Got To Love

From Tanzania: Sunburst – Ave Africa

Strut is extremely proud to present a definitive collection of recordings from one of Tanzania’s most revered but short-lived bands of the 1970s, Sunburst. Covering their entire output from 1973 to 1976, this first retrospective features music from their 45 RPM singles “Moto Moto” and “TFC,” as well as their sole album, Ave Africa, and an unreleased radio session recorded in Tanzania in 1973.

Sunburst was formed in 1970 by Zairean guitarist Hembi Flory Kongo who recruited resident drummer Johnny “Rocks” Fernandes, bass player Bashir Idi Farhan and organist / vocalist Kassim Magati. They were soon joined by Zambian-born lead singer James Mpungo.

Having developing their sound via covers-heavy live performances and a string of early singles, Sunburst’s sole LP came out at a time when Zambia was enjoying a stream of releases by bands that would now be considered icons of Zamrock such as Witch, Ngozi Family, Musi-O-Tunya and The Blackfoot. The sleeve text described the Sunburst sound as “a fusion of the traditional sounds of Africa with Western Rock, spiced with a piece of the Caribbean” but the intricacies of the Kitoto Sound that Sunburst had crafted for years peaked on this recording. Band members born in six different countries were tapping into a multitude of influences, styles, languages and stories. “We try to compose songs that have a bearing to the situation we live in,” James Mpungo recounted at the time. “Our songs are songs that support freedom struggles, songs that encourage peasants and workers to work harder, songs in praise of our leaders. We also sing a lot of songs criticizing our people for allowing themselves to be too westernized and throwing away their traditional values. And above all, we preach love and happiness!”

Ave Africa: The Kitoto Sound Of East Africa 1973-1976 is the result of over three years of research by compilers DJ Thomas Gesthuizen and Dave Tinning and comes out 24th June on 2xCD, 2xLP (w. CD included) & digital formats. Stream the track “Simba Anguruma” below. Pre-orders are available here and now.
 
Strut Records

Tracklist

A1	Kitoto Sound
A2	Ukuti Ukuti
A3	Ba Motoka Na Castle
A4	Kamungulwe
A5	Your Day Will Come
A6	Ani Uni
B1	Wakulu Wa Kuno
B2	We Need Each Other
B3	Alhamdullilahi
B4	Ntambwa
B5	How Can I Get To You
B6	Ave Africa