[engl] This is a band project from the late 1960s with a very young Bobby Marin, a leading figure in the invention of BOOGALOO music, a cocktail of Latin music, Rhythm & Blues, Soul and Rock’n’Roll oft he day clearly geared towards the western pop music that made the top of the charts. As he grew up on 107th Street in Harlem / NYC he and his mates played a game called Stickball during the day which is a street variation of baseball originating from the New York area while at night he rehearsed with a doo wop ensemble named THE LATIN CHORDS and others from his team got together in a percussion group in buildings on the opposite site of the street. It was no miracle that both groups soon merged into one act that became the 107TH STREET STICKBALL TEAM producing this sole LP in 1969 with a 7“ decoupled probably upfront that featured the two album tracks „On old Broadway“ and „Mojo shingaling“. Well shaped originals of the full length vinyl go for 200,00 € now as a mono pressing, while even those which fetch lower prices never fall beyond 100,00 €. Therefore this reissue on Everland Records suits us fans of outstanding 1960s music fairly well with even four bonus tracks added that band leader Marin unearthed from his personal vaults. This is clearly a typical album in the field of BOOGALOO music of the later 1960s. Western popular music such as beat with British roots, American soul music with lush arrangements and orchestration and the well known elements of bossa nova, salsa, cha cha cha and merengue team up in an exciting sound that gave us some very intense albums during the short span of it’s real popularity in between 1966 and 1969 around NYC but also far out in the latin world. The anthems of one’s life in the Bronx or in Harlem given by the likes of Tito Puente could be felt pouring out of the relaxed, yet intensely pulsating rhythms from drums and percussion on this record while the melodic constructions on top of this groundwork were either soul inspired such as with the hauntingly dreamy opener „On old broadway“ with a great pop appeal and beautiful horn section and vocal arrangements, had a bluesy approach such as the ballad „Look to me“ in three – quarter time at first but adopting a latin melody and cha cha cha beat towards the end of the song or showed a 1960s pop beat affinity with the vocal melodies on top of a bed of ever grooving mid paced salsa rhythms with powerful horns accompanying the basic structures as you can hear it in the two minute shorty you put a hurt in my heart. But this was only one side oft he coin. There were even more traditional latin songs to be found here which were even sung in Spanish. „Toma Guajira“ could easily be an evergreen on the dancefloor in every bar in Havanna. The mixture was breathtaking for you did not get away from dancing and twirling to the enthralling rhythms upon which sometimes the instruments could take a frantic path such as the organs or the saxophone in the soul inspired instrumental „Barbara with the kooky eyes“, which has this typical late 60s atmosphere. Wherever you put the needle in the groove the music will grab you by the heart and legs. The four bonus tracks fit well with the original album and if you would not know they were added only for this reissue you would never realize they would have stayed unreleased for about 50 years. „Come live with me“ is a hot blooded latin groover with a late 50s soul and doo wop feel merged with cumbia and salsa elements. The melodies drag you straight into the clubs of Cuba’s capital. „Rosemary with the funny knees“ is rather modern soul pop and Northern soul of the day in which more of these Cuban aspects appear for a moment but with the late 60s sound prevailing. It feels like the band drifts from one one world into the other and back without losing a beat. „Hey mama“ is a cross of 60s doo wop vocal music and Latin sounds that makes up a prototypical boogaloo style dance floor sweeper. „Lost in the jungle“ adds some 1950s exotica elements to the haunting 60s pop with latin rhythm groundwork and once more frantic performances from the horns and the singers make it an instant classic. I could go on raving about this album but instead I recommend to buy a copy of the reissue and get the full boogaloo experience. If I should limit myself to only one record from this style it would certainly be this.

[engl] The AddisababaBand is a 13 piece orchestra from Aarhus that has been rocking dance floors for over a decade with their mix of afrobeat, funk, jazz, a little psychedelic rock and fusion. Of course, they take inspiration from African masters like Ebo Taylor, Fela Kuti and Mulatu Astatke, but as improvisation is the driving force behind the band, they create a whole new world of Ethio jazz. limited on 150 copies.

[engl] The AddisababaBand is a 13 piece orchestra from Aarhus that has been rocking dance floors for over a decade with their mix of afrobeat, funk, jazz, a little psychedelic rock and fusion. Of course, they take inspiration from African masters like Ebo Taylor, Fela Kuti and Mulatu Astatke, but as improvisation is the driving force behind the band, they create a whole new world of Ethio jazz. Remastered version limited on 150 copies.

[engl] At a time when bandleaders in Nigeria used titles as an affectation, Dr. Adolf Ahanotu was the real deal. He had a PhD in music compilation and Master’s degrees in education and communication. He also played a mean tenor sax, an instrument he mastered touring Owerri with the Mirabels. Ahanotu’s scholarly background is apparent in the impeccable arrangements and the way each track is labelled with its musical type. The banging opening track, ‘Sensation’ is disco, notes the helpful doctor. The legendary ‘Ijere’ is to be considered Remire or Afro Jazz. ‘Litany of Freedom’ is reggae, ‘Cupid’ is rock and ‘Tropical Moonlight’ classified as the blues. The mandatory ode to the nation, ‘Happy Nigeria’, is labelled as calypso. But these are not dry, scholarly pieces. ‘Sensation’ reeks of dance floor freakiness not the hallowed halls of academia. And listen to the pitch bend craziness on ‘Injere’. Sure, Dr. Ahanotu had studied the rules. But he wasn’t afraid to break them. From the freaked-out opening seconds of the title track you are left in no doubt: The doctor is in the house. Mastered and produced by Goddy Oku. - Peter Moore

[engl] Insanely popular across the Maghreb, name-checked in international spy novels and beloved of music adventurers like David Byrne, Libyan superstar Ahmed Fakroun is the most astounding raï-disco-electronica pioneer you never heard of. His 1983 album, Mots D'Amour, recently reissued by PMG, is regarded as a global fusion classic. This self-titled anthology of songs from the late 70’s is an altogether mellower affair. The grooves are slower and sweeter, and Fakroun’s multi-instrumentalist chops on the saz, mandol and darbouka drum really come to the fore. The album includes tracks from two of Ahmed’s rarest and most sought-after 7”s. ‘Nysan’ has an almost West Coast vibe: think Ned Doheny via Benghazi. Balearic-minded collectors will love the haunting flute runs in ‘Awedny’, produced by Tommy Vance, and ‘Njoom Al Leyel’. There’s even a touch of lilting reggae on ‘Falah’ and ‘Yu Hussad.’ Ahmend Fakroun is the perfect late night, come-down album. Especially after a hot and sweaty evening in a raï club, somewhere in North Africa.

[engl] In 1979, long-time Highlife veteran Aigbe Lebarty decided to try his hand at high-energy disco funk. Checking the Lebartone Aces at the door, he borrowed the Sex Bombers from Prince Omo Lawal-Osula and created Unity, a sure-fire dance floor stomper that channels ‘Ring My Bell’ into a clarion cry for, well, unity ... and a good time. The title track is the undisputed highlight of the album. It rattles along in a wonky, skittish fashion, with the high-pitched toms dueling with the Sex Bombers in a musical game of Space Invaders. ‘His Highness Erediauwa 1 Oba Of Benin (Part 1 &2)’, sees Aigbe slips back into Highlife like a comfortable pair of slippers. The tracks were a gift to Erediauwa, who had just been crowned the 38th ruler of the Edo people in Benin City. Like eastern Nigeria, Benin City had remained a haven for highlife, so no surprises there. Spookily, the re-issue of this album by PMG coincides with the passing of his Highness Erediauwa 1 and the coronation of his successor. There is no word whether a follow-up is in the works.

[engl] Mix righteous fuzz guitar, bad-ass keyboards and ecstatic African rhythms and what have you got? Celebration by Aktion - a slab of of heavy Afro-funk-pysch-rock from the hardest working band in 70s Nigeria. Aktion had a residency at the Lido Night Club and Restaurant in Warri but toured constantly. Drummer Ben Alaka and Bass player Renny Pearl Nwosa created a bedrock of hardcore rhythm that allowed the rest of the band to cut loose and follow their own groove. Celebration, their second album, sees Aktion at the height of their powers. Ben Alaka had claimed his crown as the best drummer in the country (Proof: the intro to ?Centepede?), keyboardist Zeaky George has got his freak on (have a listen to ?We?re Laughing?) and Jimi Lee?s searing guitar breaks were leaving scorch marks across every track (?Celebration?, ?Groove The Funk?, take your pick.) Sadly, Celebration was also their last album. Renny and Lemmy left to form The Stormmers. Jimmi Lee hooked up with Mona Finnih and discovered disco. But Celebration remains a psych rock monster - and a funky, fuzz-filled tribute to Nigeria?s rocking east. - Peter Moore, www.africanrevolutions.com

[engl] Groove the Funk is a essential and influencal early Afro-Funk LPs from 1975. The album was released in Nigeria and the whole LP is really something excitingly special, carrying a unique style of fuzz guitar and keyboard with ecstasy rhythms that can be experienced only from the heart of Africa. Nigeria had a rich musical history with a variety of bands that were playing their unique Afro-Funk with incredible rhythms. In Aktion's case thanks to one of the best drummers of that time, Ben Alaka. Sadly most of the scene vanished like in Zambia and their Zam Rock scene, but thanks to collectors worldwide a part of Nigerian music heritage remained with us to be enjoyed. One of the most explosive bands were Aktion (also known as The Action 13 or The Actions). They were from Warri, which is a city in south Nigeria and their debut album was released by Clover Recording Organization from city of Aba. Clover Records founder Ben Okonkwo was a very influential man for the Nigerian music scene. His label released a lot of music including (Super)Wings, Akwassa, The Visitors, Mary Afi Usuah, Folk 77, The Doves, The Apostles, Mansion as well as some fine compilations of Clover artists. Aktion were among the most exciting bands coming from the scene. Renny Pearl Nwosa was the group's leader together with Lemmy Faith Nwani, who was a well respected drummer playing even for the best known Nigerian Funk band The Funkees (soon out on PMG). Renny and Lemmy together also formed the band The Stormmers, who recorded 2 incredible albums (also out soon on PMG). Aktion were playing all across their part of the country. Nigeria had a very well known club called Lido Night Club and Restaurant and AKTION were staying there for awhile. They played many college campuses all around Nigeria and also many villages to entertain Eastside students. Aktion later on recorded and successfully released another album Celebration in 1977 (out soon on PMG as well) and then some members moved on to join The Stormmers and One World. Groove the Funk is a very exciting intervention in one of the most exploding scenes coming from Africa. It's afrobeat in its best form mixed with amazing funky-psych grooves. Lot's of fuzz guitar and bad-ass keyboard playing. Certainly a great look into Nigerian scene.

[engl] Akwassa were among the best Afro-Beat bands coming from Nigeria. They released La'ila in 1975 and were one of the early Nigerian Funk bands to get an album out. They were related to the Heads Funk Band and most members were part of both bands. They managed to release two albums as Akwassa. Their debut La'ila came out on a well known Afro-Beat label Afrodisia Records. Akwassa were originally a duo made of Felix Day (guitar and vocals) and Kevin Coburn (organ, synthesizer and vocals). Felix Day is actually Feladey, the guitarist in Aktion (another top notch Nigerian band reissued by PMG). On La'ila the band used a lot of synthesizers and the overall sound is very pleasing. Overall the album has a raw and unpolished sound, but that's what brings that certain spark for being among the very best in the Afro-Beat genre.

[engl] After spending much of the ‘70s humping his congos around New York as a session musician, Nigerian Aleke Kanonu pulled in some favours to record an album of his own. The result was Aleke, a criminally obscure Afrobeat/Funk/Jazz masterpiece featuring Buddy Williams on drums, George Davis on guitar and a cameo from Wynton Marsalis on flugelhorn. There are only four tracks on the album but they are all killers. N’Gwode sounds like Fela Kuti and Manu Dibangu hanging out with Bobby Womack, probably somewhere across 110th Street. ‘Keep New York Clean’ struts like Shaft after a successful bust. And ‘Mothers Day’ keeps things sweet and soulful, before Wynton Marsalis brings back the groove with his flugelhorn on ‘Home Sweet Home’. Until recently you would have had to take out a second mortgage to get hold of Akele. And sold a kidney for the Happiness/Nwanne, Nwanne, Nwanne 12’’ Kanonu released a year later. Thankfully PMG has re-issued the LP and the EP, with the CD version containing both.

[engl] Bringing together the undisputed talents of Nigerian percussionist Aleke Kanonu and soul legend from Alabama, O.C. Tolbert, this 12” created quite the buzz when it was released in New York in 1982. Shops and leading DJs were clamouring for it, but short supply saw it disappear into obscurity. The A-side, ‘Happiness’ is an uptown style Gospel ballad where Tolbert’s gravelly, soulful voice channels years of hurt an pain. The B-side, ‘Nwanne, Nwanne, Nwanne’, is an Afrobeat disco monster that rattles along on the back of Kananu’s awesome percussion skills. Both tracks were written and produced by Jack Taylor, a producer, songwriter and purported gangster from Harlem and released on his own label. This reissue comes courtesy of the good folk of PMG, purportedly cool guys, based in Austria.

[engl] Grill by Gbubemi Amas is as smooth as the red cardigan artfully slung around his shoulders on the cover. Whether he is running through the scales on a cover version of ‘Fire and Rain’, or trying on his calypso highlife moves on ‘Ereyon’, you know Amas is a man with a smooth line for every occasion. He is also a man with impeccable enunciation. Listen to ‘Slow Down’. It features one of the most cultured sound checks you will ever hear in your life – “Willy, keep the bass a little bit tighter”. That Amas is now a theatre producer and writer in Cardiff in Wales will come as no surprise. ‘Slow Down’ is a stone cold class, and an undoubted highlight, just as it was on the excellent Comb & Razor compilation, Brand New Wayo. ‘Children’ is a bright dancefloor filler. So is ‘For You’. And ‘Listen’ showcases Amas’s disco ball cassanova moves. Articulate, cultured and classy, Grill is proof that in 80s Nigeria was producing a class of boogie funk that was as sophisticated as anywhere in the world.

[engl] Although for the longest time she has been a Chicago resident, Ruby Andrews’s wonderfully dramatic vocals sounds like straight from the deep south of the USA. Actually, that is where she was born in Hollandale, Mississippi, in 1947. She recorded at least six albums that are each highly treasured by soul and funk fans all over the world. Black Ruby, the brilliant second LP from this marvelous soulsinger first appeared on the Zodiac label in 1972. Just one minor nationally charted hit came off the LP. But as a whole it is even more revered than her hit-laden predecessor among soul aficionado’s. It’s considered an exemplary classic of a deep- and Chicago-soul album. The music has re-appeared some times in one form or another but the LP was never before fully reissued on high quality vinyl! Everland is thus very proud to re-present the Black Ruby album in closest to original format with that beautifully designed and shiny psychedelic album cover. A true Gem indeed.

[engl] A beautiful reissue of a landmark 7“ release of 1968 and a duty to take home for every soul mate out there! This wonderful 7“ single got released in 1968,it includes two songs sang by Ruby Andrews, an outstanding soul singer oft the late 1960s. The A side is a mid paced easy grooving soul pop, that lives from the intense vocal performance of Mrs. Andrews and the lush arrangements with horns and strings. It is a song that hits the pulse of the era and could not have grown anytime else. The B Side is a slow dance with a three quarters stroke and vocal arrangements that present deep emotions.Great music that has the accessibility to become an instant pop hit but also the substance to stay with the listener and fan of the 60s black music for a life time. Enjoy!

[engl] This is the 1973 solo album by Ghanaian percussionist Anthony Kwaku Bah, who was given the nickname „Reebop“ by American jazz legend Dizzie Gillespie. He passed away early at the age of 39 in Stockholm in 1983, but before made himself a name for his works with UK 70s rock heroes TRAFFIC and German Krautrockers CAN, amongst others. If you might expect here the prototypical Afro Beat and Afro Rock you mostly know from British bands, you will be surprised that this is only one part of the deal. Yes, there are African elements to be found, buried somewhere in this boiling cauldron where polyrhythmic grooves are the base for jazz improvisations by the brass section, that range from naughty swing and bebop, to freaked out free jazz and enchanting soul jazz the way it was popular in the late 60s. The arrangements are utterly lush with so much going on here in every aspect that you would get lost if there was no trace of melody to be discovered, but there they are and they tell you fantastic stories of exotic places that only exist in your wildest dreams. Kwaku Bah’s rhythm patterns grab you by the horns and pull you into a world of their own. Hypnotical, irresistible, hot and vivid. The tunes combine jazz, soul, funk and each one is constructed like a self – contained story. One could imagine these tunes being used as library music for 70s movies from action to romance. All pieces though are characterized by the constantly pulsating rhythm. To avoid drifting into the field of insubstantial disco dance music, the performances witnessed here were executed with the highest possible emotional intensity and dedication. Lay back, close your eyes and float away on a raft of sound upon the wild river of grooves and melodies. Some haunting Exotica jazz passages with a typical „jungle“ feel get thrown in for the good measure. There are even vocals in an African language hard to identify, which create and even more mysterious atmosphere. This is just an introduction part of another powerful speed funk groover but the vocals stay and make this a clear standout track. Saxophone and guitars seem to have a duel here. You will not sit still while having this tune „Iphonohimine“ coming down on you like a thunderstorm. Blues, Afro Beat, Psychedelic Rock, Funk, it can all be found in here and the band goes wild into an everlasting improvisation that deprives you of your breath. Can this record get even better? Do not ask, just enjoy what comes next. If you think that some melodies by the giant brass section sound a bit too catchy just reach out beyond these harmony lines and find yourself in a thicket of grooves, pulsations, bits and pieces of melody with a dense, sultry atmosphere. Some smaller parts might make you think of cruise ship big bands and white suits, but everybody will soon drop these and dance in their underwear for the hot blooded power funk base of the tune called „Africa“, which will take over one’s soul and set it on fire. So clean, so nice and so filthy and dangerous at the same time, this album is a masterpiece of it’s style. The exciting and very sensual funk rock of „Lovin‘ you baby“ with crazy fuzz guitars and a dark and haunting approach is another reason to kneel down when you put this record onto your turntable. Great clean lead guitars give it a latin garage rock edge Carlos Santana would commit serious crimes for. If you love bands like OSIBISA, Eric Burden & WAR, GINGER BAKER AIRFORCE, SANTANA, Miles Davis, all around 1969 to 1973, this is what you always wanted to listen to. Grab your copy now

[engl] The Apostles were disciples of a heavy kind of psychedelic soul/rock fusion. After The Funkees left for London, they stepped into the breach to become the champions of East Nigeria’s flourishing post-war music scene. Based in Aba, and led by guitarist and charismatic chancer Walton Arungwa, they laid down a couple of singles with the city’s newly-formed BEN label. EMI liked what they heard and in 1976 whisked the band to Lagos to record The Apostles with the legendary Emmanual Odenusi at the controls. A heavy mix of wailing guitar, swirling organ and James Brown-style vocals, it became a fixture in every east Nigerian home. ‘Never Too Late’ sets the stage with a scorching lead break that most believe was played by guitar-slinger-for-hire, Felix ‘Feladay’ Odey. Drummer Joel Madubuike and bass player Henry Tandu lay down the rock solid groove for Benji Davidson’s righteous organ lines in ‘Inflation’ and ‘Highway to Success.’ And each is invested with an urgency from battle-hardened vocals of Chyke Fussion, a vetran of the Biafra war. Don’t be fooled by the angelic white outfits worn on the cover of The Apostles. These guys were BAD. And ‘Never Too Late’ could well be the best Afro Rock song ever recorded.

[engl] Heaven sent from Nigeria?s tumultuous east, The Apostles have been preaching a particular blend of funky psychedelic soulock fusion for over forty years. On Banko Woman they threw a little Afrobeat into the mix, creating an Afro-Funk disco bomb that has been energising dance floors ever since. The title track finds the band at the height of their powers. Stung by the acclaim Felix ?Feladay? Odey got for the searing guitar lead on ?Never Too Late?, Walton Arungwa is a man possessed, trading licks with keyboardist Benjamin Nnamdi Davidson and sounding all the world like a Nigerian Carlos Santana. The players in the rhythm section, Henry Asu Tandu, Chicago Nwoha and Harrison Mba, are tight and relentless, keeping their heads so everyone else can lose theirs. Of course, you don?t stay successful as long as The Apostles without giving the audience what they want. On Banko Woman, that?s a country song for mum and dad (?Mr Too Know?) and a couple of earnest, plaintive tracks for emotional challenged chaps to dedicate to their girlfriends (?Yours Sincerely? and ?Friend Today, Enemy Tomorrow?). You also finish on a high. ?Disciple Funk?, is almost a religious experience, an 8-minute long instrumental wig that will have you flipping the record back to side one and starting all over again. - Peter Moore, www.africanrevolutions.com

[engl] Baad John Cross?s New Revolution is a Afro-electro-funk-boogie-disco banger that could only come from 1980s Nigeria. Bright, optimistic, with an unrelenting eye on the dance floor, it is regarded by many as a prototype of the electro rhythms that would become the signature sound of Nigerian boogie. A Cameroonian by birth, Cross arrived in Lagos a cheeky smile, a pair of white dungarees and a bag full of songs. After proving his chops with uncredited session work, he signed with the legendary Coconut label, hooked up with producer Modjo Isidore and created a stone cold boogie classic in New Revolution. ?Gimme Some Lovin? and ?Get Up And Dance Salsa? (briefly a dance craze in Lagos, apparently) are dance floor classics, ?Jeanie My Love? the obligatory love ballad and ?We Need Freedom? a Marleyesque call for peace across the continent. The real surprise is ?Rock n Roll Birthday?, a rockabilly number straight out of 80?s London. (The cover photo has a similar vibe.) Sadly, New Revolution was to be Baad John Cross?s only album. He was soon back in Cameroon, eking out a career as a session musician, but not before creating one of the freshest Nigerian boogie albums ever made. - Peter Moore, www.africanrevolutions.com

[engl] Bala Miller was famous for pushing boundaries. His first job was selling beer in the Muslim north. And as a musician he'd always try to sneak in 'local' flourishes while playing trumpet with Bobby Benson and Victor Olaiya. It was with his band, the Pirameeds, however, that he was able to realise his dream of incorporating northern tunes into mainstream highlife. Honed razor sharp from a residency at the Costain Club in Kuduna, the band recorded Pyramids, a breathtaking fusion of Hausa rhythms, jazz and funk. With its haunting trumpet line, tribal drums and imploring Hausa chants, 'Ikon Allah', the power of God, is Bala Miller vision writ large. 'Yo Gboko' is a New York-style street drama, played out on the dusty streets of Northern Nigeria. 'Opportunity Knocks' is a playful burst of ska and 'Stretch Your Nose' is a raucous James Brown fable about the dangers of lying. Bala Miller went on to become one of Nigeria's best-loved personalities. The Costain Club became a renowned meeting place for northern musicians. But his greatest legacy remain Pyramids, an opus that introduced Hausa rhythms and stories to the rest of Nigeria.