A1. Civilisation in the World A2. Free Me Now A3. Tolambo Funk
B1. Let Me Hear Them Say B2. Get Together B3. Shifty Hand Woman
recorded at Lagos EMI Nigeria in 1978 on a 16 channel mixer
'Rare late 70s Afro soul from Cameroonese bassist and singer Brigth Engelberts – insistent, hyponotic and danceable grooves that points the way to myriad trends in soul in the decade to come, well beyond easily categorizable Afro funk & soul! Some numbers have a punchier, hypnotic rhythmic dynamic, others steer a bit closer to a psych soul vibe! The groove is fairly tight, with Engelberts backed by keys, drums, congas & other percussion, and some horns, and it's plenty funky!'
A1. Yio Si Da Miliki Beat A2. Afro Instrumental A3. Osika Ranti
B1. Buje Buje B2. Aseni B3. Kete Kete Koro
'Orlando Julius has been a well known name on the West African music scene all through the 1960s and 70s. His early work was recorded in the Philips studios under the strict supervision of their house producers who were putting an emphasis on a pleasant and swinging sound that was jugging along in a pleasant way, bridging big band highlife music with American soul.
In 1972 & 1973, Orlando Julius and his band The Afrosounders visited the legendary ARC studio of Ginger Baker and what OJ and the gang put to tape there was an entirely different beast: They recorded and album packed with unadulterated, funky Afrobeat of the heaviest caliber For the first time, Orlando and the his band were able to really let loose and showcase their full power with an unfiltered impact. They laid down six epic tracks that from a Funk or Afrobeat perspective definitely count as Orlando's strongest work but it seemed that Philips were not too happy with this result. They completely botched the distribution of this record and while Orlando's earlier and later work has all been re-issued over the past years, sometimes multiple times and from various international labels, this, his best record has remained under the radar and virtually unknown to the worldwide community of African music lovers.'
A1. Hear The Musik A2. Plastic Feelings A3. Lead Me Thro'
B1. Jump Back [Comm' Of The Fireballs] B2. Medley/Solitude/Weariness B3. Come Show Me The Way
Lead Vocals - Vera Anaja Con'A Lead Vocals, Guitar - Tunde Oyecan Guitar, Backing Vocals - Funso Kupoluyi , Victor Okandeji Guitar [Effect] - David Banjo Bass Guitar - Emanuel Azubike , Ernest Coker Drums ~ Tokunbo' Awosika Tambourine, Backing Vocals [Bass] - Tunde Adenuga Engineer [Recording] ~ Sameed Ahmed Producer - Victor Emman Okandeji
Recorded at The Iyanda Records Industry, Ibadan, Nigeria in the late 1970's Original released on Iyanda Records Industry [IRI 127] Nigeria in the 70s
'Rare funky soul & rock from late 70's Nigeria – the only record we've ever seen from Disco Blaze – coming with a world of influences and a heck of strong groove! Disco Blaze does indeed have some western dancefloor soul influences in the mix – the bass and drums work together in an insistent groove, but there's some headier sounds at play, too. The electric guitars stand out wonderfully and with some audible psyche funk influences and overall the album works in a danceable funk rock mode, but they do slow it down when the mood strikes. Long instrumental passages, but there is some singing, in English.' ~ dusty
'Total WTF record from Nigeria. One copy dug up in 2008 & went for about 800 smackers. Furry, backasswards fuzz guitar, drums sometimes mixed way too high [likely under the influence of late 70s disco 12 inches]. There's also a couple of ballads with shaky, fragile femme vocals, but the backing continues to be slathered in wah & effects. As to why the guy on the front has fangs & bats flying around his head? Uh, you got me, buddy. Fans of Chrissy Zebby Tembo, you've found your next stop.' ~ Weirdo Recs
been wondering about this bizarre record for a good minute now. we finally laid our ears on the thang & it don't disappoint. the re-issue is wicked pricey too, likely cuz the proprietors of african sun records had to break piggy for an original copy of this lp, or so twood seem. to the readers of this blog who continuously pass along yer fascinating finds for the benefit of everyone, this one goes out to you. we strive to keep our relationship symbiotic, on the mutuallistically beneficial tip. awareness is crucial & it takes a global village. 320 heartfelt daps to freethesoul for this winning slice o' funktified outsider nigerian fuggery
1. Akampanye 2. Mampam Sukuruwe 3. Eyi Su Ngaanngaa
Side B
1. Oburumankoma 2. Sasa Abonsam 3. KyeKye Pe Aware
Sweet Talks were amongst the top five most popular bands in Ghana during the 1970s having recorded a string of hit albums. ‘The Kusum Beat’ was originally released in 1974 and became a household favourite with heavy emphasis on the ‘Afro’ through its traditional rhythms and motifs, blended together into a modern mix that combined highlife, funk and Afrobeat.
Like a small handful of seminal Ghanaian albums, The Kusum Beat has stood the test of time and sounds as original and unique today as it did back in 1974. Original pressings are in high demand and can be found on record exchanges for significant prices. This was the second album from the band formerly known as ‘El Dorados’, later to change their name to ‘Medican Lantcis’ before settling on ‘Sweet Talks’ – they were live residents at the legendary ‘Talk of the Town’ nightclub in the port town of Tema near Accra. It is here they established a name for themselves as one of the most exciting young bands in the country.
Due to the popularity and commercial success of their first three albums – Adam & Eve, Kusum Beat and Spiritual Ghana – the band began touring on a regular basis and made it as far as Los Angeles. They went on to record what was to be their biggest selling record, the Hollywood Highlife Party LP, as well as some straight disco recordings aimed squarely at the burgeoning American market.
The Kusum Beat is far from typical of their trademark sound but shows just how versatile an outfit they were – able to turn their hands to any one of a number of styles. It’s a great reminder of how open-minded, experimental and curious the music scene in Ghana was in the first half of the 1970s.
Very rare LP by seminal Ghanaian band. The record was released simultaneously on both Philips Ghana and Phonogram [Coconut] in Nigeria. The Sweet Talks were deservedly huge in both regions. touring Nigeria constantly and making many records exclusively for release in the Nigerian market. This is one of the most solid & original of all Ghanaian LP's from the time. The quoted text above postulates that this slab was dropped in 74 but the Philips labels say 76. either way, it's wicked groovy
