Review: Popularly known to fans as "Ice" - a rare case of hypocorism in colloquial fan band nicknaming - Strut Recordings document a rare record from the vaults of the luminary Lafayette Afro-Rock Band, one that is arguably the closest in their catalogue to the signature sound defining their earlier work. Marked by an especially complex funk rhythmology, this record was pressed contemporaneously with the infamous Soul Makossa and Malik sessions; but compared to their earlier works, Afro Agban pushes deeper into jazz-rock territory. 'Ozan Koukle' has espceially become a known but coveted missing link for turntable taxonomists, who'll thank their lucky stars for the fact that it is now available in full.
Review: Ice's early work captures a pivotal moment in funk's evolution, weaving together taut grooves and vibrant African-inspired rhythms. Recorded during the band's formative years, the music brims with raw energy and creative ambition. Polished basslines drive the tracks, while percussion bursts with a vitality that speaks to their Parisian influences at the time. Horn stabs and tightly wound guitar lines add layers of complexity, and the occasional vocal inflection injects a sense of urgency. With each listen, the production reveals new texturesismall details that elevate the record beyond its era.
Review: Insane boogie fire from Rio circa 82; both Robson Jorge and Lincoln Olivetti were already decorated before they joined forces, but this one took both of their reputations and amplified them beyond expectation. Their one and only album, it's loaded with soul and funk from every corner of Brazil's sexy city and brought together with beautiful attention to detail; the gradual vocal breakdowns, rude synths and lavish instrumental sections, key cuts such as the Wonder-level "Aleluia", the jazz slides and glides of "Pret-A-Porter" and the sexy 80s electro boogie "Squash" will still completely flip any party 35 years later. Stunning.
Review: Ultra lo-fi stereo funkage from L'Eclair, the latest signage to Swiss label Rock This Town. 'Cruise Control' is a muddy and smoggy six-track instrumental disco-funk EP, with seven members laying down parts on wah-wah, space horn, and synth. It sounds as if a mega-talented disco troupe were performing in the next building, but they could only be heard through thick insulation or some kind of muffling foam. The tone is ultimately pleasing, blurry and cloudlike, as if this were disco beamed to us from heaven as opposed to the material world. The softest cuts, such as 'Safari In D', are our highlights.
Review: Few sounds transcend time like Afrobeat, and few artists defined it as profoundly as Tony Allen who has long been the genre's legendary heartbeat. In 2011, Allen recorded a masterful rhythmic session for Comet Records' Afrobeat Makers Series where his drumming, unconstrained and deeply expressive, speaks a universal truth through its unique cadence. On this album, La BOA-La Bogota Orquesta Afrobeat-engages Allen's legacy in a remarkable dialogue led by Daniel Michel. The Colombian band blends Afrobeat's essence with their unique rhythms and merges Caribbean beats, Pacific grooves and Andean influences into a fittingly lively tribute and a seamless cultural exchange where Bogota meets Lagos.
Review: La Clave's self-titled album from 1973 is a refreshing mix of Latin rhythms and the vibrant sounds of the city of San Francisco. Formed by nine musicians from Mexico, Panama, Cuba and Puerto Rico with Benny Velarde at the helm, the group blended their rich cultural backgrounds with the soulful and experimental music scene of the Bay Area during that period. This unique mix created a joyful, energetic sound that still lures you in to this day, which is why this mini-classic gets reissued as part of the Verve By Request series.
Review: La Retreta Mayor hail from Venezuela and includes members such as trumpeters Lewis Vargas and Jose Diaz, saxophonists Nelson Hernandez, Benjamin Brea and Rolando Barbosa on trombone amongst others. This self titled album is the only one the short-lived outfit ever released and it came in 1976. It's a fine fusion of jazz and funk with plenty of Latin flair and rich percussive layers, lead wind instruments and danceable disco grooves that bring real colour and vitality to the dance floor. Originals are hard to find and expensive so this is a timely reissue.
Not For You (feat Alyssa Marie & Jack Tyson-Charles) (3:17)
Browsing YouTube (2:40)
Go Free (3:51)
Review: Lack of Afro has spent two years battling addiction and a marriage breakdown, but is now back with a new album that very much finds him in superlative form. Square One comes on his own label, Bastion Music, this September and was written with inspiration found during a trip to the United States to produce in the famous FAME Studios at Muscle Shoals. What results is an album full of light, hope and optimism that the good times will return. The outputting of love and devotion comes with big horns and organs, plenty of heart swelling emotion and much more.
Review: Steve Lacy is an LA-based songwriter best known as guitarist for The Internet as well as producing for Kendrick Lamar amongst others. After releasing his debut solo album Apollo XXI in 2019, he returns with a sophomore effort which expands on his broad-reaching vision of psychedelic soul. Like a modern day Shuggie Otis he knows how to bridge the gap between disparate musical camps, displaying a powerful pop instinct while keeping things kinked and quirky throughout. Lead single 'Bad Habit' is a sweet, sentimental anthem that should appeal to all and sundry, and it's a perfect gateway into an album brimming with future classics.
Review: Strut proudly presents the first official remastered reissue of Lafayette Afro Rock Band's funk/Afro classic, Soul Makossa from 1973. Originally known as the Bobby Boyd Congress, the seven-member Afro-American ensemble relocated from the U.S. to France in 1971. After lead singer Bobby Boyd returned to the US, the group rebranded as Ice and collaborated with producer Pierre Jaubert, whose credits included work with Charles Mingus and John Lee Hooker. Inspired by Motown's work ethic, Jaubert initiated daily rehearsals, leading to the band's unique sound. Immersed in Paris's African-dominated Barbesse district and frequently performing with Cameroonian composer Manu Dibango, the group evolved into Lafayette Afro Rock Band, embracing a heavier, more intricate Afro-funk style. Their debut album, Soul Makossa, featured a dynamic rendition of Dibango's classic, alongside the intense break of 'Hihache' and the infectious 'Nicky.' This meticulously crafted remaster by The Carvery from the original tapes includes the full original artwork, celebrating an iconic album's legacy.
Review: Strut proudly presents the first official remastered reissue of Lafayette Afro Rock Band's elusive funk/Afro original album, 'Malik,' originally released in 1974, on Limited Edition coloured vinyl. In 1971, the seven-member Afro-American ensemble, initially known as the Bobby Boyd Congress, moved from the U.S. to France. Bandleader Frank Abel recalls, With lead singer Bobby Boyd's return to the US, the group rebranded as Ice and collaborated with independent producer Pierre Jaubert, who had worked with legends like Charles Mingus and Archie Shepp. Inspired by Motown's work ethic, Jaubert initiated regular rehearsals with Ice. The band, immersed in Paris's African-dominated Barbes district, began infusing African elements into their music, often performing with Cameroonian composer Manu Dibango. As the Lafayette Afro Rock Band, they shifted to predominantly instrumental compositions with a dense Afro-funk sound. Their debut as Lafayette included 'Soul Makossa' and the impactful break in 'Hihache.' A year later, 'Malik' refined their sound with tracks like the percussive 'Conga,' atmospheric 'Djungi,' and robust 'Darkest Light.' Though initially limited in impact, 'Malik' gained appreciation as hip-hop culture flourished in the 80s, becoming a rich source of samples. This remastered reissue, crafted by The Carvery from the original tapes, has the full album and original artwork.
Review: On Good Together, Lake Street Dive embraces a renewed sense of purpose and focus on unity amidst social divisions. Described as "joyful rebellion", the album blends energetic, danceable sounds with a defiant, principled message that makes a long-lasting impression. "There's so much pain and division but living in anger isn't sustainable," drummer Mike Calabrese explains adding, "Joy is a powerful way to sustain yourself, and we wanted to remind people of that." The album he has made with his bandmates was produced by Grammy-winner Mike Elizondo and is the first time they collaborated on songwriting from the start. In turn, this expanded their creative range and has brought a new depth to their sound.
Review: Lakeside's Fantastic Voyage dates back to 1980 and is also the name of the number one hit the Dayton, Ohio group had in 1981. The song topped the r&b chart and marked their one and only ever entry on the Billboard Hot 100, peaking at number 55. Sample hounds may know that hip-hop star Coolio used parts of this song for his own hit of the same name in 1994. The rest of the tunes are just as much a great and funky fusion of soul, disco and r&b with great vocal harmonies, guttural male growls and infectious drums.
Review: Lakeside - perhaps the unsung counterparts to Kool & The Gang (though they were just as great) - are routinely hailed as one of the earliest purveyors of funk-disco in its entirety, and we can more than believe that when taking in their fifth album from 1981, Your Wish Is My Command. Hugely ahead of its time, the production on this album is unmatched, with bombshell beats and ultrafilterswept synths making for unparalleledly glitzy backdrops for the Ohio nine-piece's watertight ows and yowzas. Our faves from this classic have to be 'Something About That Woman' and 'The Songwriter', the beats on which land like shoulder-slaps. Also, notably, this album features a rare hidden rerub of the Beatles' 'I Want To Hold Your Hand', which sets total fire to the original.
Review: Billed as a jazz-funk obscurity by many an expert, the 1984 self-released album by John Lamkin charts the trumpeting and flugelhorning talents of a lesser-spotted Maryland jazzer. Never again releasing a record after this debut for GMI, this shockingly varied record was dedicated to Lamkin's father, also named John Lamkin. Commanding a star cast of instrumental contributors - the likes of Gary Thomas, George Gray and Eugene Mauro - Lamkin would not achieve so much fame as those listed above, and yet brought a timelessly torrid fusion of funk and jazz here. 'Hot' is especially crispy and combustible, and we're not sure why it didn't blow up when it came out; you could fry an egg on that bass lick.
Review: New Orleans-born, now London-based neo-soul singer Acantha Lang debuts her anticipated first album Beautiful Dreams via Magnolia Blue. Coming hot off the heels of several live TV appearances, live shows and awards shows, the album now comes as her confident debut, and blends Stax-inspired funk with Southern blues, amid emotive, marching, organic arrangements, together primed to do the utmost justice to Lang's voice, which bursts with flavour as a full-bodied midrange. By far the biggests splash on the album is 'He Said/She Said', which is the wackiest and most energetic of the lot.
Review: The collaboration between the hip-hop godfathers and Afrobeat's explosive rhythms is nothing short of electrifying. After the session in Harlem, the project moved to Prince Fatty's studio, now in South East London, where the rhythm section was filled out by two key members from Seun Anikulapo Kuti's band, Egypt 80. Akinola Adio Oyebola and Kunle Justice's enthusiasm brought an authentic Nigerian Afrobeat vibe to the music, setting the stage for a unique fusion of revolutionary poetry and progressive jazz. UK-based jazz talents like Joe Armon Jones, Kaidi Tatham and Courtney Pine joined in to create a vibrant soundscape. With live, non-sampled instrumentation and impeccable mixing from Prince Fatty, the music feels as groundbreaking as the Poets' lyricsiperfectly capturing today's eclectic musical tastes.
Review: Jazz saxophonist Tony Lavorgna, sometimes known as Captain Bad, recorded Chameleon with the St Thomas Jazz Quartet in 1982. The title track is a cover of Herbie Hancock's classic from Head Hunters, given a fresh lick on this superlative album of incredible renditions of long time favourites. Ray Charles' 'Georgia On My Mind', War's 'The World Is A Ghetto' and Dave Brubeck's 'Take The 'A' Train' all get a look in, given a soulful treatment which goes down very smooth indeed. On the strength of these, it's a shame the group never recorded more music together, covers or otherwise.
Review: A new LP's full of beachside kraut-funk slinkiness from Lawne, the band formed in 2019 as the result of a divined meeting of minds between old friends and self-confessed music nerds Joe Nicklin and Joe Martin. These guys are hardly your average Joes; the new eight-track record for Wah Wah's offshoot 45s series was named after the self-storage unit the duo used as a studio for many years, and commands a coefficiently boxy and compacted sound, one that dodges claustrophobia despite its many rhythmic condensations, productive limitations (the project saw the pair move from shipping container to canal boat), and instrumental tightenings. When not going ham on the playing, this dreamy sonic buoy, constructed between the two, flaunts an impressive ability to float on synthetic water, 'Pool' being the pillowy third track to evoke associations as much.
Review: Azar Lawrence's 1976 solo album People Moving is one that puts his skill on tenor, alto, and soprano saxophones front and centre throughout. The classic album was assembled by a stellar lineup including none other than Patrice Rushen on electric piano and vocals, as well as Harvey Mason on drums and Mtume on percussion. It was dedicated at the time to Charles Stepney and blends funk, soul, and jazz into a vibrant musical experience. The title track, 'People Moving,' stands proud with Lawrence's soulful saxophone and Jerry Peters' impressive horn arrangements really drawing you in. The record also marks Skip Scarborough's debut as a producer, and it's a role he later expanded when working with artists like Bobbi Humphrey, Con Funk Shun, and Phyllis Hyman.
The Lady Of The Sea (For Those Who Know The Tube) (4:00)
All My Life (2:32)
You're The Only One Girl (3:39)
At Least We Got Love (3:07)
All Love's Children (3:05)
Get Out In The Sun (3:53)
Golden Hues (2:53)
I Meditate Each Day (TM Try It) (2:59)
Review: Steve Leach's Ocean Potion, set for reissue on Be With Records, is a hidden gem of Balearic beach-funk from 1976, featuring Leachiknown today as Seasick Steveiin his earlier incarnation. Originally released exclusively in France on Philips, this LP is a funky AOR and blue-eyed soul masterpiece, brimming with vibrant, pop-funk energy. Recorded with the Crystal Grass Orchestra, the album boasts a lush orchestral sound that perfectly complements Leach's smooth vocals and the rich harmonies of a stellar ensemble of backing singers. The supporting musicians are legends from the French music scene, including Don Ray as arranger and synth player, Marc Chantereau on percussion, Slim Pezin on guitar, Andre Ceccarelli on drums, Christian Padovan on bass, and Pierre Halation on flute. Their combined talents create a groove that is both immediate and infectious, making it hard to believe this record has remained relatively obscure. The reissue by Be With Records has been carefully remastered by Simon Francis, ensuring the sound quality is impeccable. Cicely Balston's expert cutting preserves the record's integrity, while the original sleeve artwork, featuring a topless Leach reclining on a piano-laden flatbed truck at the beach, has been beautifully restored. This long-overdue reissue brings Ocean Potion back to the spotlight, where it rightly belongs.
Review: Drummer and composer David Lee Jr.'s acclaimed yet hard to find gem Evolution from 1974 is revered for the way it ingeniously melds the experimental spirit of John Coltrane and Sun Ra with the infectious rhythms of New Orleans. A standout among legendary New Orleans drummers, including Zigaboo Modeliste and Idris Muhammed, Lee Jr. showcased fiery innovation and unparalleled experimentation here on this 'lost classic' deep jazz album, originally released on Lee Jr.'s Supernal Records. It embodies a quest for creative progress and spiritual freedom and is rooted in the vibrant rhythms of New Orleans and Afro-Futurist musical concepts. It remains a rare and monumental achievement in the realm of deep and spiritual jazz, and here has been newly remastered for a limited magenta vinyl edition.
Review: The 1978 self-titled album by the free soul band Lemuria remains much talked about around rare groove circles. Formed by Kirk Thompson of the iconic Kalapana, it's a proud statement of Hawaiian AOR, and highlights the magic touch of Thompson as both a keyboardist, and behind the mixers, his work as the album's serving producer. For this new reissue edition, P-VINE is including three bonus tracks and two alternate takes for the first time on vinyl, resulting in this deluxe fourteen track double gatefold package (this translucent golden brown vinyl version is limited to 300 copies).
Review: Anyone who has seen Nigerian saxophonist Bukky Leo perform with his backing band Black Egypt will tell you how incendiary they are live, frequently delivering performances that blur the boundaries between Afrobeat, Afro-jazz and Afro-funk. It's fitting then that Bukky and his band's latest release is a live album made up entirely of their interpretations of tracks from legendary Nigerian musician William Onyeabor. It's simply superb, with the ensemble's wonderfully laidback Afrobeat interpretation of 'Atomic Bomb', a rousing, dance-along romp through 'Good Name' and an insatiable, deliciously low-slung shuffle through sensual classic 'Body & Soul' belong amongst the many musical highlights.
Review: The highly anticipated reissue of the rare groove gem Transfusion by West Coast funky drummer extraordinaire Les Demar is finally here thanks to P-Vibe and comes with an obi! Originally released in 1977 on the esteemed Dobre label, this album stands as one of Demar's most significant works from the 1970s. It boasts iconic tracks like 'Moondial,' featuring a legendary drum break sampled by artists such as Jurassic 5, De La Soul, DJ Shadow, and Greyboy. Additionally, the album showcases a plethora of groovy numbers like 'Canned Heat Suite' and 'Kaballa,' alongside the mesmerizing Afro-Latin funk of 'Bacchanal,' epitomizing Demar's fusion of funky rhythms and jazz sensibilities.
Review: Acid Jazz Records are master compilers who here turn their focus once more to Les Sympathics De Porto Novo Benin. It's part of the label's reissues series focussing on rare sounds from legendary Benin imprint Albarika Store and is a second album from one of the most notable groups to hail from Porto Novo'. This 1970s collective, founded by Herman Laleye, is famed for its heavy rhythm section and vocals from Gangbo Bonheur, Armand Pognon playing blues-tinged guitar and Camille Zanou's on the organ. Rather than straight-up Afro-beat, Afro-funk or Latin, this band fused it all seamlessly into something new.
Review: This new album from Les Truffles is as delicious as the thing they are named after, and as classy too. It's a deep dive into their smoky and seductive late night instrumental funk sound. The drumming is deft and feathery, the chords like puddles of bliss and the melodies hypotonic. Sometimes there is caution in the stick work to make for an unsettling mood, at others these sounds are warm and controlling for evening relaxation. Fans of El Michels Affair and Bad Bad Not Good will surely lap up this double album on Funk Night.
Review: Lettuce is a Boston-based and unstoppable funk force helmed by bassist Erick "Jesus" Coomes, saxophonist Ryan Zoidis, guitarist Adam "Shmeeans" Smirnoff, drummer Adam Deitch, keyboardist and vocalist Nigel Hall and trumpeter Eric "Benny" Bloom. Their saw is raw and direct and draws on the harmonics of Herbie Hancock and the high tempo of James Brown. Their album Outta Here b is pure, unfiltered funk and a powerful testament to their sound. Lettuce is joined by legends like guitarist John Scofield, who shreds on 'Flu the Coop' and 'Back in Effect' with Soulive's Neal Evans on B-3. Trombone icon Fred Wesley adds his magic to the James Brown-inspired 'Superfred' and the title track 'Outta Here.' Tasty stuff, for sure.
Review: Following the success of their last outing, Crush, funk innovators Lettuce are back with Mt. Crushmore, another standout collection of tracks that rank among their best work. This seven-track EP features a mix of new songs and b-sides from the Crush sessions and each one highlights the exceptional quality of that album. However, Mt. Crushmore isn't just a companion pieceiit showcases Lettuce's more experimental, spacey side, making it a unique addition to their discography as well as a fine record t reach for when you wanna get some raw funk in your life.
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