CD Review: 1987 Talking Drums' Reissue For 'Some Day Catch Some Day Down'

Talking Drums
Some Day Catch Some Day Down
Innova

Originally released in 1987, Talking Drums' Some Day Catch Some Day Down is a rhythmic romp into Ghana's Afro-beat legacy with lively horns, immense percussion, rippling guitars, and great vocal harmonies. About a dozen musicians comprised the 1987 group, which provided various instrumental accompaniment, including the more popularly-known congas, sax, flute, bass, keyboards, guitar, timbales, bells, flugelhorn, and trumpet. However, there are numerous Ghanaian and West African percussion instruments used throughout the recording that are too numerous to mention. At any rate, the result is Afro-beat heaven with lively vocals. There are liner notes for each song, too. In addition, this is an enhanced CD, which provides nine MP3 bonus tracks after placement in a computer. These are groovy grooves with upbeat percussion and happy vocals. ~ Matthew Forss

CD Review: Tal National's 'Kaani'

Tal National
Kaani
FatCat

Niger's Tal National is led by Almeida (aka Issoufou Moumine), a leading guitarist from Niamey by night and court judge by day. The music draws upon West African rhythms, soukous, Afrobeat, blues, and rock. The rippling guitars, energetic percussion, and floating vocals represent the great Saharan song traditions in a contemporary setting without straying too far from their Zarma, Hausa, and French linguistic roots. The music is more danceable and structured than other nomadic tunes from the region. The music is also more rooted in rock and blues than full-on traditional arrangements. Nevertheless, the eight long tracks are particularly enthralling and full of dance-floor power. The throaty vocals, fast percussion, and meandering guitar grooves are what makes Kaani shine the most. Still, there isn't anything off-putting anyway. Explore Niger's desert grooves with one of the most influential and hard-working purveyors of the region--Tal National! ~ Matthew Forss

CD Review: Bongos Ikwue & Double X's 'Wulu Wulu'

Bongos Ikwue & Double X

Wulu Wulu
Bik Records
 
Nigeria’s Bongos Ikwue personalizes African music and combines a mix of traditional Afro-pop rhythms with highlife, reggae, Congolese rumba, Afrobeat, soul, funk, jazz, and rock. The sauntering “Wulu Wulu” reflects a bluesy-soul rhythm with charming vocals. “Mustapha and Christopha” is a folk guitar song that describes the conflict between Christians and Muslims in Northern Nigeria. The sparkling guitar work, great vocals, and exceptional instrumentation make Wulu Wulu a rewarding album that is monumental, memorable, and organic. The pleasant melodies and inspirational tunes make the listener feel good. Moreover, the incredible variety of musical influences is not to be missed here. Fans of African popular music, Nigerian music, world fusion, and Afro-Caribbean music will love Bongos Ikwue and his band, Double X. ~ Matthew Forss

CD Review: Sierra Leone's Refugee All Stars' 'Radio Salone'

Sierra Leone's Refugee All Stars
Radio Salone
Cumbancha

Sierra Leone's Refugee All Stars are an incredible world music and afro-beat group of musicians that continue to astound listeners with each release. The newest release, Radio Salone, contains a host of catchy, groovy, and funk-laden songs with some afro-latin percussion and good 'ol African funk. There are sixteen tracks and loads of fun for the entire family. The gritty grooves and danceable hooks are ripe with African flavors and musical styles. The percussion and vocals are top-notch with little in the way of creative imperfections. The highly-percussive instrumentation, contemporary grooves, and soulful funk with indigenous melodies and styles makes Radio Salone a hit with all who listen to it. Fans of afro-beat, West African pop music, dance music, and innovative afro-pop will love Radio Salone. ~ Matthew Forss

CD Review: Karthala 72's 'Diable Du Feu!'

Karthala 72
Diable Du Feu!
Electric Cowbell

Karthala 72 is a mysterious group from the 1970s originating somewhere in Eastern Africa. The annals of history reveals a funky, psychedelic, and rock-driven type of music that is the ultimate in Afro-beat music. The instrumental tunes resonate loudly with African percussion, fuzzy guitar stylings, and electric beats that are raw and uncensored. The organic music is rich with melodies and eerie sounds that will get any pulse racing and feet moving. If Afro-beat greatness is not enough, then you are in for a treat with ten killer remixes. Anyone with an interest in funky, Afro-beat will love Karthala 72. This is mostly instrumental, too. Funkadelic, psychedelic, and dope-adelic all the way. Sizzling tunes with rootsy, almost futuristic electronic sounds. Amazing. ~ Matthew Forss

CD Review: Kwame Afrovibes' 'Let's Go'

Kwame Afrovibes
Let's Go
Self-Release

Afrobeat from Spain via Ghana? Yes. Kwame Adzraku is the lead singer and instrumentalist with the band Kwame Afrovibes. On Let's Go, Kwame plays drums, maracas, sticks, piano, guitars, shekeres, hammond B3, keyboard, rhodes, tambourine, and other instruments. As a vocalist, Kwame can be compared with Fela Kuti, but the tracks are sung in English, Ewe, Spanish, Accran, and Ashanti. The African languages are represented throughout. Guest musicians play djembe, synth, sax, steel drum, kalimba, and cabaza for another layer of percussion and texture. The funky, psychedelic ramblings are upbeat, danceable, and groovy. There is a high-level of musicianship that is not seen in many other recordings today. Anyone with an interest in West African jazz, makossa, soukous, pop, and rock will love the intricate renderings of Kwame Afrovibes. ~ Matthew Forss

CD Review: The Funk Ark's 'High Noon'

The Funk Ark
High Noon
ESL Music

The Funk Ark is a plethora of funky, mood-driven, heady tunes that feature the funkiest music this side of Africa. In fact, the group is based in Washington, D.C.--not exactly Ghana. Nevertheless, the groovy, fun, and danceable rhythms are primarily influenced by the highlife, free jazz, and afro-rock music of the 1970s. High Noon features the sax, organ, trumpet, bass, percussion, and limited vocals. The music of Chopteeth and Fela Kuti come to mind. However, this is an album for a new generation of African music. Despite its Western title and cover imagery, High Noon is a product that carries the traditions of West Africa. High Noon is great for any part of day. ~ Matthew Forss

CD Review: Henry Cole and The Afrobeat Collective's 'Roots Before Branches'

Henry Cole and The Afrobeat Collective
Roots Before Branches
Self-Release

Henry Cole is a Puerto Rican drummer and musician with a knack for anything Afro-Caribbean and jazz. Roots Before Branches is full of lively vocal sets with elements of hip hop, funk, and downtempo. The vocals are more aligned with Latin influences, while the instrumental segments take on an afrobeat character. The extended instrumental tracks and portions of songs are especially appealing, because they provide a perfect situation for kicking back and relaxing to the Afro-jazz-Latin sounds of the cross-cultural abyss called world music. The horn and trumpet segments are backed by a languid and upbeat percussion foundation that never ceases to amaze all who listen. Some tracks are particularly fast-paced with vibrant percussion, funky grooves, and rootsy melodies. At any rate, Henry Cole and The Afrobeat Collective brings a delicious mix of dance music to the table with loads of Latin spice and African sensibilities that incorporate American jazz idioms. Fans of Afrobeat music and golden Afro-funk will love Roots Before Branches. ~ Matthew Forss

CD Review: Doctor L's 'The Great Depression'

Doctor L
The Great Depression
Comet

Doctor L is a fusion fellow with roots in Ireland, France, and Africa. The latter country is of utmost importance for his latest release, The Great Depression. Doctor L incorporates soothing downtempo hooks, a punch bass line, afro-beat funk, and world voicings into the mix. Various artists are captured on the album, including The Nairobi Descendants, Vodoo John, Allonymous, Tony Allen, Asa, Kiala Nzavotunga, Unknown Poets, David Walters, and Antibalas. The remarkable repertoire is heavily influenced by jazz, funk, improvisation, and global beat music with various languages spoken and numerous instruments make rhythms from all corners of the world. The upbeat, modern arrangements contain a variety of vocal samples, rock-driven segments, and funkadelic tunes that are so hot they melt the CD player...figuratively, of course. A plethora of male and female vocals, spoken word, rap, electronic noises, and mesmerizing arrangements put this album to the top of any global music chart with ease. ~ Matthew Forss

CD Review: The Funk Ark - From The Rooftops

The Funk Ark

From The Rooftops

ESL Music

The Washington, D.C.-based funk group creates groove-ladened, tracks inspired by the Latin and African dance scenes of the 1960's and 70's. The mostly instrumental treats are funkier than ever. The brainchild behind The Funk Ark is songwriter and keyboardist, Will Rast. Vocalist Asheru and Sitali lend their vocals to 'Funky DC'. The majority of the tracks are rooted in Afrobeat and Latinbeat music with little rest from the danceable rhythms and melodies. In fact, the music is brimming with life and energy. Interestingly, Noah's Ark wouldn't be large enough to contain the immense amount of funky happenings. From The Rooftops is a top-notch recording of beat music with funky swagger and soul that is as unforgettable as it is unique. Fans of funk, Afrobeat, dance, and classic Latin and Afro sounds of the 1960's and 70's will find The Funk Ark an especially rewarding surprise. ~ Matthew Forss

CD Review: Chopteeth - Live

Chopteeth

Live

Grigri Discs

Chopteeth is back with a live set of resurrected Afrofunk and Afrobeat tunes from Africa's greats including Fela Kuti, Tabu Ley Rochereau, Le Shimandou de Beyla, and Peter King. Of course, the band focuses on other tunes by Ignacio Rios, Rudy Gomis, Ndeye Mbaye, Barthelemy Attiso, Arthur Kennedy, Michael Shereikis, and Duke Ellington. The D.C.-based band is a purveyor in the golden age of African funk music. The classic 1970's tunes are mainly instrumental with plenty of brass, drums, keyboards, electric guitar, and bass. The ten songs were recorded at a few different locations around D.C. The audience participation is minimal with only a smattering of applauses or shouts. The groovy beats are a perfect accompaniment for a thriller or suspense film soundtrack. Chopteeth is a delectable band that always brings the brass with the sass. ~ Matthew Forss

CD Review: Funkmasters Mamarazzi

Mamarazzi

Bewilderness

Independent Release

NY-based funkmasters, Mamarazzi, is a collective of Andrew Aprile on guitar, Sam Bathrick on percussion, Tacuma Bradley and Sam Franklin on tenor sax, Rob Cohen on keyboards, Tavi Fields as MC, Eric Herman on bass, and Jeremy Noller on drums. Little information is provided in the liner notes, but the music should speak for itself. In fact, the Ghanaian opener, "Sobobo", is a perfect funk-driven rhythm and beat. The urban rap beats on "8" and "Here We Go" contain equal moments of funk, jazz, lounge, Latin, and afro-beat. The instrumental sections are also varied and infectious. The downtempo beat of "Nu Dutch" is a jazzy number, while "Seeds" is a funky and lyrically poetic song of urban origins. The tropical rhythms of "Grapefruit" is appropriately titled and travels into a world of downtempo-meets-big band by the end of the song. The final song, "Gangster", is a vocal ballad with funky origins and loads of swagger. Bewilderness is not as mysterious as it first appears. With each listen, something new is revealed and it is always good. Fans of urban funk, tropical funk, and afro-beat may need to listen to Mamarazzi sooner than later. ~ Matthew Forss

CD Review: Alma Afrobeat Ensemble - 'Toubab Soul'

Alma Afrobeat Ensemble

Toubab Soul

Amphora Records

The Barcelona-based Alma Afrobeat Ensemble is an eclectic mix of band members and musical styles. Some members are from Norway, Senegal, USA, Ghana, Uruguay, and Argentina. Toubab Soul is a truly afro-beat recording with multilingual vocals, groovy-jazz dance, and highly percussive beats. Of course, there is an element of 1970's West African grooves. The rap opener, "Taskmaster", gets things started with an inherent African hip-hop beat without foraying too far into urbanism. "Mali" is an ode to the country of the same name. The guitar, sax, kalimba, and djembe drum provide a Latin influence to the instrumental track. The funky "New School", smooth-groove "Kudja", world-jazzy "Own World" and "Muziqawi Silt", and the reggae-tinged "S. Africa" provide a solid cross-section of tunes that are well-structured and musically-engaging. The Alma Afrobeat Ensemble makes the music of Africa shine all in one place. ~ Matthew Forss