Review: This latest reissue from Awesome Tapes From Africa is the whole reason for founder Brian Shimkovitz starting the blog and the label that grew out of it. Some 13 years ago, Shimkovitz stumbled across a cassette copy of Obaa Sima whilst travelling Ghana and his love for Ata Kak's music lead to the foundation of the Awesome Tapes From Africa blog and the commencement of a long running effort to track down the Ghanaian musician. Some four years after ATFA became a label, Shimkovitz finally tracked down the musician, real name Yaw Atta-Owusu, and was granted permission to reissue Obaa Sima, using the second hand tape purchased in Ghana as the source. The seven tracks on this LP are a winning tinny combination of highlife, rap, pop, and more with "Daa Nyinaa" sounding like a cover version of William De Vaughn's "Be Thankful For What You've Got".
Review: Philophon is a Berlin-based label run by Max Weissenfeldt. Part of Philophon is the Tonstudio Bluetenring in Kreuzberg, operated by Benjamin 'Stibbo' Spitzmueller. The label's essential motivation is to support any form of local culture with reason, freedom and ludic drive. North-Ghanaian singer Guy One presents his first international release here. He promises what his name is saying: he is the number one artist of Frafra music, named after his people. "Everything You Do, You Do For Yourself" is a driving Highlife rhythm and his only song having a phrase in English. "Estre" features one of the leading voices of Frafra-Gospel named Florence Adooni. She interweaves perfectly with the horn arrangements by Weissenfeldt and the drummer. Washington's Hailu Mergia, San Francisco's Idris Ackamoor and the Pyramids and the legendary Scandinavian producer Jimi Tenor have also released on the label over the last year too.
Review: A unique political story told in 20 chapters, Angola 2 Soundtrack delves deep into the nine year history of recorded music culture that was born out of the live music oppression set in place by Portuguese rule. Between three labels over 800 recordings were released during this fertile period, each one reflecting Angolan folk and distinctive Latin influences. And these are 20 of the most creative highlights. From the frenetic guitar rhythms and harmonic chants of "Mabele" to the psychedelic highlife shimmers of "Avante Juventude" via the insistent, street-bound sermon of "Snipes", this collection is entrenched in a rich musical history. Complete with well researched booklet and powerful imagery, it's an immaculate lesson in modern music history.
George Darko - "Medo Menuanom" (12" version) (6:21)
Wilson Boateng - "Mabre Agu" (3:35)
Paa Jude - "Odo Refre Wo" (8:58)
Aban - "Efie Nny" (8:11)
Wilson Boateng - "Asew Watchman" (4:38)
Uncle Joe's Afri-Beat - "Mr DJ" (5:24)
George Darko - "Obi Abayewa" (5:44)
Dr K Gyasi's Noble Kings - "Damfo Agoo/David Akofo/ Obegyaa Nowa/Okwantuni Moboro" (Medley) (13:53)
Review: Were you aware of the burger highlife phenomenon that swept through Ghana in the 1980s? Taking the West African sound of highlife and infusing it with the synths and drum machines of disco and boogie, a vibrant fusion culture emerged with hit upon hit of infectious, funky-as-hell party gear undeniably rooted in African culture. This diligent compilation from Kalita looks to some of the most important artists from this wave of electrified highlifers, including Thomas Frempong and George Darko, and of course looking between the cracks for the more obscure gems that should get even the well-schooled excited to check this one out.
Review: Those with a deep knowledge of Berlin's Ghanaian ex-pat "burger-highlife" scene may already be familiar with Lee Dodou, a singer who recorded a number of classic singles and albums during the 1980s as part of bands Georg Darko and Kantata. He retired from music in 1991, but has been persuaded to return to action by the Philophon team. This comeback single is pretty impressive all told, with A-side "Basa Basa" - a triumphantly celebratory chunk of 1960s "concert party" highlife rich in punchy horn lines and Dodou's full-throated vocals - being joined on the flipside by the slower, synth-laden "Sahara Akwantou". Brilliantly, the label describes this as "kraut-life" due to its unique (and rather good) fusion of highlife and German kosmiche.
Review: She may be best known as a TV and radio presenter, but Nigerian star Julie Coker also enjoyed a short but successful music career. She released two albums of note - highlife-focused 1976 debut "Ere Yon (Sweet Songs)" and 1981's more disco-centric "Tomorrow" - both of which now fetch eye-watering sums online. This fine retrospective showcases cuts from both of those sets, with the many highlights including the spacey, delay-laden highlife cheeriness of "Re Hese", the Clavinet-sporting disco-funk-goes-pop bounce of "It's All For You", the low-slung but rising, gospel influenced brilliance of "Gossiper Scandal Monger" and the heavily percussive, off-kilter goodness of album closer "Iyo-Re". You might also notice the intro of 'Ere Yon', which was recently sampled to great effect in Anderson .Paak's "Saviers Road"!
Review: No Food Without Taste If By Hunger is the 20th compilation in Analog Africa's Limited Dance Edition series and it also happens to be a mega-rare classic from the world of Edo funk. The Good Samaritans from Benin City, Nigeria released a very small run of the original in 1982. It is an infectious album of hypnotic basslines layered up with trance-like grooves trippy psychedelic guitars that make for an utterly unique kind of funk music. Newly mastered, pressed to 180g vinyl with a silk screen printed cover, and limited to just 2000 copies, this is a rare chance to own such a landmark album.
Review: Spanish reissue label Rocafort present this wonderful slice of highlife from Konkolo Orchestra, this time on nice blue wax as well as a plain black version. It's not exactly clear where, or indeed when, exactly the band came from, but their sound is all you need to worry about. 'Blue G' is a lilting, shuffling message of love and support for future generations, and from the message to the effervescent musicality, it's a no-brainer. On the flip, 'That Good Thing' is an instrumental that spirals outwards on the sweetest keys, joyous brass and dreamy guitar, driven by a pattering drum section to radiate good vibes wherever it's played.
Review: After forming from the ashes of a lauded jazz group in 1972, Sierra Leone's Afro National went on to release countless killer singles and albums that effortlessly joined the dots between jazz, highlife, funk and more traditional West African sounds. Here, the laudable Africa Seven label celebrates the band's legacy not by gathering together their most famous tracks, but rather cuts with the most insatiable dancefloor chops. The hits come thick and fast, from the punchy Afrobeat/highlife fusion of opener "Jokenge" and the rolling, low-slung goodness of "Mr Who You Be", to the jaunty, celebratory brilliance of the Juju-influenced "Sonjo" and fuzzy sweetness of the compilation's closing track, "Mother In Law" (which, incidentally, is far more enjoyable than any weekend visit from the in-laws).
Review: We love RSD only for one thing, and that's providing us with inaccessible records that have been snapped-up by Discogs sharks over the years. This timely reissue of Pat Thomas second LP from 1976, the wonderful Marijata, is one such record that has become impossible to find in its original format, and one which allows us to have some access to the highlife beat, one of our biggest loves. While much of this album rests in classic soul and funk, Pat Thomas' Ghanaian influences are loud and present, whether through the guitars, the aesthetics of each instrumental and, of course, the quality of the recording itself. Funk out to some ORIGINAL STYLE. Cop it quick!
Review: Over the last couple of years, Matasuna Records has developed a tried-and-tested formula. It revolves around finding and licensing killer cuts - think funk, Afrobeat, tropical flavours and Latin beats - and then pairing them with a fresh, floor-friendly re-edit. Their latest find is something of an overlooked gem: a gorgeously sunny 1983 number from Ghanaian musician Mawuli Decker that's piled high with infectious, EWE-language vocals, Highlife guitars, spacey Moog sounds and cute electric piano solos. The accompanying Renegades of Jazz re-edit is pleasingly faithful to its source material, deftly showcasing Decker's brilliant music while beefing up the bass, subtly tightening up the drums and layering on some complimentary hand percussion.
Susuansu/Nana Bue Me/Yewo Adaagye/Krokrohinko/M'anoma/Moma Yen Sore (15:36)
Review: Essential Hi-Life & Afro-Funk from Ghana! The legendary K. Frimpong's fantastic rare second album recorded in 1975 at Ghana Films Studio. As a prolific songwriter and singer, this is reissue of his 2nd album, a modern fusion of Hi-life and the traditional beat called Ahyewa. The excellent background is given by the Super Complex Sounds band which makes the Ahyewa beat suitable for specialist dancefloors.A must have vinyl of percussive Afro-Funk & modern Hi-life . Remastered by Frank Merritt at The Carvery, pressed on Deluxe Replika format, fully licensed to the Alhadji Kwame Frimpong Family.
Review: Ernesto Djedje is rightly known as the king of Ziglibithy and has been since not long after he first made his mark back in the 60s. He started out as a guitar player and leader of Ivoiro Star, before eventually going it alone and moving to Paris. He later returned to his native Cote d'Ivoire in 1974 and created his own musical mix of funk, soul, Makossa and disco before dying in odd circumstances in 1983. This Roi Du Ziglibithy, LP was first released in 1997 and now gets reissued on Analog Africa. One of his best-known works, it's a perfect example of his unique fusion sound.
Alan Cosmos & His Bam-Baara Soundz - "Soca For Your Pleasure" (7:23)
AB Crentsil - "Mama Dwen Meho" (6:16)
DJ Lawyer Okyere - "Ohia KanNye Ya" (Medley) (7:39)
Alan Cosmos & His Bam-Baara Soundz - "Onua Gyae" (6:02)
Pope Flyne Ackah - "I Think You Are Right (Jepense Que Tu A Raison)" (3:20)
Atta Frimpong - "Yaako" (5:20)
Pat Thomas - "Obae" (6:40)
Mawuli Decker - "Mawu Nafako Nam" (6:59)
Nana Aboagye Da-Costa - "Sikyi" (Medley) (7:13)
Alan Cosmos & His Bam-Baara Soundz - "Yebi/Fontonfrom" (11:58)
Review: Kalita's Borga Revolution compilations are pure joy, tapping into the boom in electronic music in Ghana in the 80s and 90s. The first volume came out last year and carried work from the likes of Thomas Frempong and George Darko. On this second instalment we get a whole host of new names to bring us more of that West African heat, and the hits just keep spilling out. Check the urgent stomp of 'Soca For Your Pleasure' by Alan Cosmos & His Bam-Baara Soundz, or the rugged soul and deadly grooves bursting out of Pope Flyne Ackah's 'I Think You Are Right (Jepense Que Tu A Raison)'. If you were into the first edition, this is only going to bring you more delights from an overlooked corner of Africa's musical history.
Review: 1975's "Simigwa" album not only launched the career of Afro-funk fusionist and eventual Highlife great Gyedu Blay Ambolley, but also inspired a Ghanaian dance craze. The album was co-produced by another Highlife great, Ebo Taylor, and has long been exceptionally hard to find on vinyl. For this official vinyl reissue on Mr Bongo, Ambolley's landmark set has been fully re-mastered for the very first time. It sounds spectacular, with great clarity on the ear-catching brass solos, serious weight to the bass and superb stereo separation. Highlights include - but certainly aren't limited to - the Afro-blues brilliance of "Toffie", the jaunty dancefloor fuzziness of "This Hustling World" and the heavyweight swing of ear-catching opener "Kwaakwaa".
Review: This is a new record of unearthed delights by Leon Keita, a longtime singer and multi-instrumentalist from Mali. On the eponymous 'Leon Keita', we hear Malian music fused with sensibilities from Sudan-Guinea and Burkina Faso, with modern pop and electronic influences, impeccably played in a smattering of crisp guitars, love-sung lyrics and laboured rhythms. All laid to a fresh pressing, the A-side hears three rather relaxed beauties, while the B moves into more idealistic and hedonic directions, not least the conclusive 'Dakan Sate, Korotoumi'. Brought back to our attention by Analog Africa, 'Leon Keita' serves yet another top serving and reminder of Mandingue culture, the influence of which stretches across the world; 'Dalaka' was a recent hit, making it as far as the Colombian coast.
Review: Victoria Osei and Theresa Owusuaa are Ahemaa Nwomkro, which is a phrase that translates as 'queens of Nwomkro.' Nwomkro is an Ashanti style music that influenced Highlife, a style of music closely linked to Kumasi, Ghana's cultural capital and a city in the middle of the jungle. The pair link up with young highlife talents here and the results are pure, good time sounds that trill with energy, pickle rhythms and earthy percussion as well as some subtle synth work that brings a contemporary edge.
Wallias Band - "Muziqawi Silt" (instrumental) (3:45)
Marumo - "Khomo Tsaka Deile Kae?" (3:42)
Roger Damawuzan & Les As Du Benin - "Wait For Me" (3:14)
Shina Williams & His African Percussionists - "Agboju Logun" (Mr Bongo 7" edit) (4:02)
Girma Beyene - "Enken Yelelebesh" (3:21)
Tee Mac & Majorie Barnes - "Nam Myoho Renge Kyo" (5:40)
Yta Jourias - "Adore Nyueto" (5:27)
Peter King - "African Dialects" (4:54)
Alemayehu Eshete - "Tchero Adari Nègn" (4:26)
Tesfa-maryam Kidane - "Heywete" (5:14)
Amadou Balake - "Super Bar Konon Mouso" (5:24)
Kelekye Band - "Jungle Music" (5:40)
Orlando Julius & Ashiko - "Get The Funk" (5:28)
Review: A new week means yet another new compilation from Wagram. The French label has become expert at myriad different genres from staples like house and techno to more esoteric world genre niches. This time out they launch a new series that looks into the rich sounds of Afrobeat, first pioneered by the likes of Fela Kuti and his drummer Tony Allen. Neither of them feature here but the four sides of tunes we do get all make for a deep dive into this compelling rhythmical music.
Review: Majid Soula is someone who uses music as activism. The Algerian-born, Amazigh artist lays down prominent guitar lines with driving drums and snaking synth lines to blend together worldly sounds such as highlife, disco, Kabyle sounds and funk. The sounds become a vehicle for Soula's political message which he delivers with style and wit. The artists says he is someone whose first concern is "to present a quality artistic work in order to contribute, however modestly, to the development and enrichment of our cultural heritage." He does it and then some with this more absorbing of records. It is sure to become a collector's cult classic.
International Zaistars & Nene Tshaku - "Je T'Aime Au Pluriel" (8:12)
MD Shirinda & Gaza Sisters - "Mabazi" (2:41)
Bwaluka Founders Band - "Kimbera" (5:14)
Review: A Dancefloor in Ndola, curated by East African DJ Kampire for Strut Records' 25th anniversary, is a great example at the broad sounds of classic East and Southern African music. With 13 tracks that span genres like Congolese rumba, South African bubblegum, and Zambian kalindula, the compilation pays homage to the rich musical heritage of the region. Kampire's personal connection to the music, shaped by her upbringing in Ndola, Zambia, adds depth to the compilation. Through her own edit of 'Ririmi Rotsombela' and personal liner notes, she traces her links to the music, creating a nostalgic experience for listeners. The compilation not only celebrates well-known artists but also shines a spotlight on women in African music from the 80s, including legends like Pembey Sheiro, Feza Shamamba, and Princesse Mansia M'bila. It's a testament to the diversity and richness of African music history. With its blend of classic tracks and Kampire's personal touch, A Dancefloor in Ndola is more than just a compilation; it's a cultural journey that highlights the beauty and significance of African musical traditions.
Review: British producer Burland and Ghanaian vocalist Zongo Abongo join forces here for UK to GH, a new collaboration that collides the respective backgrounds of each artist. Reggae, highlife, dancehall, UK bass and rave all meet in a world of fresh rhythm and melodic invention. 'Telephone No Wire' opens with a feel-good highlife sound on a 2-step beat with vocalist Adotey Johnson in fine form. 'Nyura' heads to the club with weighty bottom ends and enchanting melodies then things get darker on the flip with 'Try To Test' exploring another take on 2-step with hints of UKG and grime overlaid with catchy vocal hooks. 'Last Chance' pairs dancehall vocals with downtempo breaks for a superb conclusion.
Review: ARN4L2's first-ever solo vinyl project is a doozy. Across five cuts he looks to the dance floor from his own unique perspective and mixes up Congolese soukous, Colombian Bullerengue, Nigerian highlife, Caribbean soca, and good old house music. His style is colourful and psychedelic and it really is fresh across the hurried, skittish percussive rhythms of 'Rompecuero' and deeper Afro-funk and soul of 'Caribe.' 'Kampangola' brings great instrumental displays and 'Papasukus' is pure summer music. A super strong EP from an artist well worth watching this year.
My Luck (feat Madam Hassanah Waziri & Her Velvet Voice) (8:57)
Review: David Byrne's Luka Bop label does a wonderful job of serving up some superbly obscure and unknown sounds but in a accessible and enjoyable fashion. Next up for the tirelessly digging label is a third volume of their World Spirituality series: The Muslim Highlife Of Alhaji Waziri Oshomah is an international collection of Afro rhythms that cut deep. Alhaji Waziri Oshomah hails from Edo State in southern Nigeria and is someone who holds sermon and serves up lyrics that warn about the vice of jealousy but the grovers also make his gathered crowd want to get down. He brings together both Muslims and Christians and this record will too.
Odo Gu Ahorow/Maye Pentoa/Ohianiwa/Osu A Ono Nkoaa (15:17)
Sunsum Me Gu Mu (3:35)
Odo Fever (3:23)
Abofra Ketewa (3:35)
Ebeto Dabi (3:55)
Review: Vis-A-Vis released a hugely impressive 13 albums between 1975 and 1982. Both talented studio artists and live musicians, the band was led by vocalist Isaac "Superstar" Yeboah with Sammy Cropper on guitar, Slim Manu on bass and Gybson "Shaolin Kung-Fu" Papra on drums. The We Are Busy Bodies label is in the process of rolling out reissues of plenty of those records and this is one fo the best . A real listening joy, it brings with afro grooves and noodling jazz melodies, richly textured organ and bass work that all help take you to warmer, earthier climes in an instant.
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: In 1977, Gaye Mody Camara, a young Soninke raised in Mali's Kayes region, settled in France to found his own empire modelled psychically after the great Soninko empire. Initially selling wax, kola nuts and other goods in his Parisian outlets, he rapidly started distributing cassette tapes and eventually producing a multitude of recordings for his own label, Camara Production. Crossing paths and collaborating over the next four decades with legendary artists, griots and industry moguls like Boncana Maiga and Jean-Philippe Rykiel, Camara became one of the great independent music producers of his generation, and a pillar of the Parisian Soninke diaspora. Released in close collaboration with Camara and with the assistance of Daouda N'diaye, one of A.P.S' (Association pour la Promotion de la langue et de la culture Soninke) historical members, this selection of songs and accompanying notes aim to shed a light on an intricate culture and its modern music, unjustifiably unknown outside of West Africa and the various diasporas around the world.
Review: Dan Boadi left his native Ghana to take his highlife sound to American audiences after he had his 1967 breakout debut 'Abrabo'. That was a regional hit and soon after came this tune which was recorded at Paul Serrano's studio in Chicago. It showcased the real breadth and depth of his sound as it called upon reggae, acrobat, halide and funk to demand your ear with a chugging drum groove. Add in the colourful orchestration that makes the tune soar and a you have a record that is a true musical melting pot that stood Boadi pat in his new home of the Windy City.
Review: Fans of international sounds will know just how big Vis A Vis's contribution has been to the scene over the years. In all they put out around 13 albums between 1975 and 1982 and were both talented studio artists and live musicians. Vocalist Isaac "Superstar" Yeboah led the group with able assistance from Sammy Cropper on guitar, Slim Manu on bass and Gybson "Shaolin Kung-Fu" Papra on drums. Di Wo Ho Ni is one of their many vital albums and this limited edition repress means you won't have to fork out eye waveringly high prices for an OG.
Review: Acid Jazz has got an ongoing deal to issue and reissue music from Benin funk supergroup Orchestre Poly-Rythmo de Cotonou and the latest fruits of that is this reissue of their Le Sato album. It is a follow-up to the one they dropped back in 2021 and is another section of traditional voodoo ceremonial music from the group from the mid-seventies. The name of the album is taken from the large ceremonial Sato drum, which is played with wooden stick beaters at special ceremonial occasions. Here it can be heard in all its glory making traditional rhythms and deeply ritualistic grooves that will leave you in a trance.
Review: Immanuel 'Immy' Kwabena Dreessens-Owusu is based in Torquay but is of Ghanaian-Dutch heritage. His musical upbringing straddled the worlds of rock'n'roll and the West African culture of his roots. His grandfather is a legendary musician, Koo Nim, and this debut album was recorded with his father Kojo Noah Owusu and Ghanaian drummer Julius Sackey. Across nine glorious cuts he mixes highlife and Afro rhythms, Afro rock and psychedelic sounds with spiritual vocals into an energising and cathartic brew that is steeped in classic and authentic styles but with plenty of modern perpsective.
Review: Ahemaa Nwomkro means queens of Nwomkro, an old Ashanti Musial style that was hugely influential in the early formation of genres like the Highlife take on Kumasi, which is the cultural capital of Ghana in the middle of the jungle. Those queens are Victoria Osei and Theresa Owusua and here they team up with young Highlife musicians generation Akule Pepe on guitar. He worked for many years with Highlife legend Alex Konadu and these songs here show just how well pure Nwomkro work with textbook Highlife.
Review: Alhaji Waziri Oshomah is a master of Afro sounds and rhythms that cut deep. He is from the Edo State in southern Nigeria and always as making music and often holds local sermons. His music was highlighted by David Bryne's always-excellent Luaka Bop label in September with World Spirituality Classics 3: The Muslim Highlife Of Alhaji Waziri Oshomah and now comes another bumper collection of his tunes. As the title suggests, Vol 1-5: 1978-1984 pulls together his best work from that six-year period across five 12"s and a special booklet.
Go Now Wetiko (feat Americo Brito & Mariseya) (5:59)
Roi Salomon (feat Mariseya) (5:24)
Duncan Truffle (3:14)
Review: Niels Nieuborg is Arp Frique, an artist who made a bold and brilliant debut on Rush Hour a few years ago and has never looked back since. His 2018 album Welcome To The Colorful World of Arp Frique showed off his fresh take on disco with a host of collaborators and now he once again lays down the beats while various guests appear on this new EP on Colourful World. Elements of zouk, highlife, Afro-disco and many more worldly rhythms lend these cuts their unique and characterful style. Analog drum machines, kick rhythms and psyched out synths all sit next to great vocals for a kaleidoscopic trip like no other.
Review: The late Helen Nkume began her music career in Nigeria in the early 70s, forming the Young Timers and crafting a strain of highlife which caught on in the East of the country. By the late 70s she had self-produced her two best albums, which were constrained to the region she resided in and were of course incredibly hard to come by. The diligent folk at Dig This Way came across those records in a village near Umahia and embarked on a mission to connect with her family, gather any material they could about Nkume and present some of her incredible music to the world, which has resulted in this perfectly formed four-tracker of Afrobeat goodness.
Review: Mi Latinoamerica Sufre embarks on a musical journey that redefines the electric guitar's role within tropical Latin music. The album, crafted by the Meridian Brothers, draws from the melodious, intricate rhythms of African highlife and soukous guitar bands, popular both in coastal Colombian pico sound system dances and across Africa. Eschewing typical prog or psych rock distortions, the sound embraces a clean, pure approach, honoring '70s Congolese rumba, Ghanaian highlife, and Nigerian afrobeat. The compositions on Mi Latinoamerica Sufre intricately blend Latin rhythms like cumbia, champeta and Brazilian tropicalia with underground psychedelic rock. Through the character Junior Maximiliano the Third, the album delves into themes of self-discovery, humorously navigating through nostalgia, paranoia, and shared experiences. Alvarez's vocal versatility enriches the album's sonic storytelling, complemented by visual narratives from Colombian artist Mateo Rivano. This innovative concept album unfolds as a poignant exploration of identity, offering a fresh perspective on Afro-Latino musical traditions and psychological states.
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.
The African House Party Project - "P-Coq" (feat Splash, Patricia Majalisa & Dalom Kids)
V-Mash - "Naughty Boy"
Di Groovy Girls - "Ririmi Rotsombela"
Tshala Muana - "Djepue"
Lady Isa - "Djambo"
Pembey Sheiro - "Sala Ni Toto"
Princesse Mansia M'Bila - "Ngoma Mansia"
Samba Mapangala & Orchestra Virunga - "Mashariki"
International Zaistars & Nene Tshaku - "Je T'Aime Au Pluriel"
MD Shirinda & Gaza Sisters - "Mabazi"
Bwaluka Founders Band - "Kimbera"
Review: Always keen to break new ground, Strut's latest compilation comes not from a well-known European or American crate-digger, but rather Kenyan-born, Uganda-based DJ Kampire. A Dancefloor in Ndola sees her look back to her time growing up in Zambia and specifically the music she heard and loved during these formative years. It's a great idea, executed brilliantly, with Kampire showcasing an enticing and highly entertaining mix of East and South African music from the 70s and 80s, including Congolese rumba and soukous, bubblegum, and kalindula, a guitar-led style native to Zambia. It's a joyous an eye-opening collection all told and notable for - aside from the high quality throughout - Kampire's decision to showcase a high number of tracks from legendary and little-known female artists. A genuinely essential collection all told.
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