Afrosound - 1973 - La Danza De Los Mirlos

Afrosound

1973

La Danza De Los Mirlos

01. Caliventura

02. En La Espesura Del Monte

03. El Forastero

04. El Chorrillo

05. Esperando Por Ti

06. La Cancion Del Viajero

07. Sabor Navideño

08. La Danza De Los Mirlos

09. La Magdalena

10. Cachucha Bacana

11. Cabeza De Chorlito

12. La Sirena

Mariano Sepúlveda: guitar

Hernán Gutiérrez: piano

Fernando Villegas: congas

Rafael Benítez: timbales

Jesús Villegas: bongo

Rafico Restrepo: guiro

Afrosound was born from the desire of Discos Fuentes vice-president José María Fuentes to come up with a domestic version of the emerging African and Latin rock sounds coming from outside the country, inspired by groups like Osibisa and Santana. The mission was to emulate the guitar-heavy tropical sounds emanating from Perú and Ecuador at the time. According to various sources, the 1972 tune "La Danza De Los Mirlos" (by Peru's Los Mirlos) emerged as a great success in Colombia and with it a new way of interpreting the country's most famous musical export, namely cumbia, through a Peruvian perspective. Afrosound would cover not only "La Danza De Los Mirlos" and name their debut LP after the song in 1973, but they would also faithfully reproduce the unique sound of their guitar hero Enrique Delgado. The first Afrosound recordings were made with a fantastic rhythm section consisting of talented musicians that had played with Fruko y sus Tesos. To add to the hippie vibe, there were plenty of whacky improvised vocal asides (called "inspiraciones"), plus custom fuzz, wah-wah, flange and echo effects boxes for the guitar and keyboards. A barrage of odd sounding synths, drum machines and other electronic flourishes were sprinkled in to spice up the proceedings, providing a competitive edge that made the Fuentes sound so unique. La Danza De Los Mirlos kicks off with most famous Afrosound hit of all, 'Caliventura', a genius blend of funk and cumbia. Aside from the cumbia amazónica title tune, there are several other covers including three popular songs by Nelson y Sus Estrellas, plus radically reimagined versions of various Colombian costeño classics published by Fuentes. Mario "Pachanga" provides a sad but still groove-oriented Christmas son montuno/cumbia hybrid while Fruko brings us the bomba-funk ditty "El Chorrillo" and the rocking cumbia Andina gem "Cabeza De Chorlito" where Sepúlveda channels Enrique Delgado. Fruko collaborator Hernán "Hercovalle" Colorado Vallejo rounds things out with the melancholic psychedelic cumbia "Esperando Por Ti", proving that every tropical party has to have its down side as well. All in all, the dozen tracks on Afrosound's debut long play make for a surprisingly diverse palette from which these Colombian musicians painted their daring portrait of Peruvian cumbia, returning the favor in bold colors that still resonate almost 50 years later. 

Afrosound’s mission was to emulate the guitar-heavy tropical sounds emanating from Perú and Ecuador at the time. To add to the hippie vibe, there were plenty of whacky improvised vocal asides (called ‘inspiraciones’), plus custom fuzz, wah-wah, flange and echo effects boxes for the guitar and keyboards. A barrage of odd sounding synths, drum machines and other electronic flourishes were also sprinkled in to spice up the proceedings.

The dozen tracks on Afrosound’s debut long play make for a surprisingly diverse palette from which these Colombian musicians painted their daring portrait of Peruvian cumbia, returning the favor in bold colors that still resonate almost 50 years later.

“La danza de los mirlos” kicks off with most famous Afrosound hit of all, ‘Caliventura’, a genius blend of funk and cumbia. Also, there are several covers including various Colombian costeño classics, a groove oriented son montuno / cumbia hybrid, Fruko’s bomba-funk ditty ‘El chorrillo’, the melancholic psychedelic cumbia ‘Esperando por ti’ and the rocking cumbia andina gem ‘Cabeza de chorlito’.

Santa Cecilia - 1975 - Baila el Bump

Santa Cecilia

1975 

Baila el Bump

01. Baila Bump (1a. Parte) 2:58

02. Yeh Yeah Bump 3:38

03. Mi Nena Baila El Bump 2:44

04. Mi Adoracion Era Verla 3:15

05. Africa Bump 3:08

06. Baila Bump (2a. Parte) 3:10

07. Bump En Percusion 4:35

08. Tu Eres La Primera, La Ultima Y Mi Todo 3:22

09. Solo Vivo Para Ti 4:12

Sergio Ruíz: vocals

Javier De la Torre: bass

Julio De la Torre: guitar

Mulo Alvarado: keyboards

Released in 1975 by the Mexican label Orfeón, Baila el Bump is an intriguing and funky dance album from Grupo Santa Cecilia, a lesser-known act from Mexico City. The album stands out as a time capsule of mid-'70s musical trends, capitalizing on the global dance craze of "the Bump," a popular dance style similar to the American Shuffle. This LP is designed to get listeners moving, with its infectious rhythms and playful energy, while also reflecting the band’s ability to blend genres.

The album features nine tracks, clocking in at around 31 minutes, and is heavily centered on the "Bump" theme—several song titles explicitly reference it, like "Baila Bump" and "Yeh Yeah Bump." The sound is rooted in deep funk, with groovy basslines and a driving beat, but it’s infused with the band’s pop-rock origins, giving it a distinctive flavor. A standout feature is the use of atypical instrumentation for a funk record, such as a tinny combo organ that adds a quirky, retro charm. Tracks like "Africa Bump" hint at an eclectic influence, possibly nodding to Afro-Latin rhythms, while maintaining a cohesive dance-floor vibe.

Critically, Baila el Bump is a departure from Grupo Santa Cecilia’s earlier work, which leaned more toward pop-rock. This shift suggests an intentional pivot to ride the wave of the dance music trend, and the result is a fun, unpretentious record that doesn’t take itself too seriously. While it may not be a groundbreaking masterpiece, it’s a terrific listen for fans of funky Latin music or anyone curious about Mexico’s take on global dance fads of the era. The album’s rarity—having been tucked away in obscurity for years—only adds to its charm for collectors and crate-diggers.

Ofege - 1978 - How Do You Feel

Ofege 

1978

How Do You Feel

01. World Peace

02. Burning Jungle

03. Check It Out

04. Bomp Your Booty

05. Take Your Mind Away

06. How Do You Feel

07. Ideal Situation

08. Naira Power

09. Nature Queen

10. Frustration

Bass, Vocals – B-Tee-Paul Alade

Congas – Kofi Ayivor

Drums, Congas, Percussion, Vocals – Ike- Mike Meme

Guitar [Solo] – Jake Solo

Keyboards – Robert Bailey

Lead Vocals, Rhythm Guitar – Karchi-Melvin Noks

Producer – Majek

Strings, Keyboards – Francis Monkman

Violin – Miranda

Vocals – Ann

Ofege’s final studio album, How Do You Feel, released in 1978, serves as the closing chapter for a band that emerged as teenage pioneers in Lagos, Nigeria. Formed in the early 1970s, Ofege had already left a mark on Nigerian music with their debut Try and Love (1973), followed by The Last of the Origins (1976) and Higher Plane Breeze (1977). Their fourth album, How Do You Feel, wraps up a brief yet influential career, blending psychedelic rock, funk, and Afrobeat into a sound that was uniquely their own.

How Do You Feel showcases a noticeable shift in Ofege’s musical direction. While their early work leaned heavily on psychedelic rock with fuzzy guitars and intricate rhythms, this album embraces the funk and disco trends of the late 1970s. Expect punchy basslines, syncopated guitar riffs, and a stronger presence of keyboards, all woven together with their signature Afrobeat grooves. The result is a tighter, more polished sound that’s undeniably danceable—an evolution that reflects global musical currents while keeping their Nigerian roots intact.

Even with this shift, Ofege retains the youthful energy that defined their earlier releases. Now in their early twenties, the band members bring a refined interplay between instruments, highlighting their growth as musicians. However, fans of their raw, psych-rock beginnings might find this album less adventurous, as it trades some of that experimental edge for groove-oriented accessibility.

The album’s title, How Do You Feel, hints at introspection, and the lyrics likely explore themes of love, self-reflection, and social awareness. By 1978, Ofege had matured beyond their teenage years, and their songwriting reflects a broader perspective. While specific tracks aren’t detailed here, the songs probably balance personal narratives with the upbeat energy of the music, creating a mix that’s both thought-provoking and easy to move to. This duality keeps the album engaging for listeners who enjoy depth alongside a good groove.

Production-wise, How Do You Feel feels polished compared to Ofege’s earlier efforts. The sound is cleaner, with a clear emphasis on balancing the instruments—a nod to late-1970s techniques and the needs of funk and disco. This clarity enhances the album’s danceability, though it might lack the unpolished charm of their debut for some listeners. The shift suggests a band comfortable in the studio, adapting to contemporary standards while refining their craft.

When it hit the scene, How Do You Feel didn’t replicate the massive success of Try and Love, which had sold hundreds of thousands of copies in Nigeria. By the late 1970s, Afrobeat and highlife were dominating locally, and Ofege’s rock-funk fusion may have struggled to compete. The band’s breakup after this release further hints at a natural endpoint, perhaps as they sought new paths beyond music.

Over time, though, the album has found a second life. Reissues by labels like Tidal Waves Music and Strut Records have introduced it to international fans of 1970s Nigerian music, funk, and disco. While it doesn’t carry the same iconic status as their debut, How Do You Feel holds its own as a snapshot of Ofege’s adaptability and a key piece of their discography.

How Do You Feel is a vibrant farewell from Ofege, capturing them at a crossroads of funk, disco, and Afrobeat. It may not pack the raw, psychedelic punch of their earlier work, but it shines as a testament to their musical growth and willingness to evolve. For anyone diving into Ofege’s catalog—or the broader world of Nigerian music—this album is a must-listen, offering a groovy, reflective close to an unforgettable career.

Ofege - 1977 - Higher Plane Breeze

Ofege 

1977 

Higher Plane Breeze

01. Bazooka Bash 3:57

02. To Be Wise 4:04

03. Contraband 4:05

04. Come Right Back 4:48

05. H.P.B. 4:35

06. Our People 5:02

07. Magic Music 3:39

08. It's All Over 3:34

Bass – Paul Alade

Drums – Mike Meme

Guitar [Lead] – Olushoga Benson

Keyboards – Robert Bailey

Keyboards [Uncredited] – Dapo Olumide

Keyboards, Synthesizer – Kiki Gyan (tracks: A3)

Lead Vocals – Melvin Noks

Percussion, Congas – M-Ike Meme

Strings – Miranda (English Rose) (tracks: A4)

Formed by teenage students from St. Gregory’s College in Lagos in the early 1970s, Ofege carved a unique niche in the country’s music scene by blending psychedelic rock, funk, and Afrobeat. Their third album, Higher Plane Breeze, released in 1977, marks a significant point in their discography, reflecting both their musical evolution and the shifting sounds of the late 1970s. Following their acclaimed debut Try and Love (1973) and their sophomore effort The Last of the Origins (1976), this album captures Ofege at a moment of transition, balancing their roots with new influences.

Higher Plane Breeze showcases Ofege’s growth as musicians, moving beyond the raw, youthful exuberance of their debut and the refined psychedelia of their second album. By 1977, now in their early twenties, the band leaned into the global rise of funk and disco while retaining their Afrobeat foundation. The album likely features punchy basslines, syncopated guitar riffs, and a pronounced rhythmic drive, making it more groove-oriented and danceable than their earlier work. The psychedelic flourishes that defined their initial sound are still present but woven more subtly into the mix, resulting in a polished yet adventurous sonic palette. This evolution reflects both their maturing musicianship—evident in tighter arrangements and cohesive interplay—and the broader musical trends of the era.

Lyrically, Higher Plane Breeze appears to blend personal reflection with the band’s established themes of love and social awareness. The album’s title hints at a sense of elevation or transcendence, suggesting lyrics that explore aspirations, dreams, or a desire to rise above challenges. This introspective tone likely adds depth to the album, complementing its upbeat rhythms with moments of emotional resonance. While staying true to their youthful spirit, Ofege’s words on this record may reflect a slightly more mature perspective, shaped by their experiences as rising stars in Nigeria’s music scene.

The production on Higher Plane Breeze aligns with late-1970s trends, delivering a polished sound that enhances its groove-heavy tracks. If produced by Odion Iruoje, who helmed their earlier albums, it would carry his signature blend of clarity and raw energy, preserving Ofege’s distinct identity. Alternatively, a new producer could have introduced a cleaner, more commercial edge, emphasizing the funk and disco influences. Either way, the production elevates the album’s dancefloor appeal while maintaining its artistic integrity, making it a standout in their catalog.

Upon its release, Higher Plane Breeze didn’t replicate the massive commercial success of Try and Love, which had sold hundreds of thousands of copies in Nigeria. In 1977, the Nigerian music landscape was increasingly dominated by Afrobeat and highlife, and Ofege’s rock-funk fusion may have struggled to find a broad audience. However, the album has since gained a cult following internationally, thanks to reissues by labels like Tidal Waves Music and Strut Records. Its innovative blend of funk, disco, and Afrobeat resonates with modern listeners, and its tracks have likely been celebrated or sampled by enthusiasts of 1970s African music. Today, it’s regarded as a hidden gem that underscores Ofege’s versatility and lasting impact.

Higher Plane Breeze is a vibrant, groove-driven chapter in Ofege’s discography, highlighting their ability to evolve with the times while staying rooted in their unique sound. Though it lacks the raw psychedelic edge of their debut, it excels with tight, danceable rhythms and a polished production that feels timeless. For fans of funk, disco, or Afrobeat, this album offers a compelling listen, capturing Ofege at a crossroads—honoring their past while embracing a new musical era. While it may not have achieved the fame of Try and Love during its initial run, Higher Plane Breeze stands as an essential piece of Nigeria’s musical legacy, deserving of its rediscovery by contemporary audiences.

Ofege - 1976 - The Last Of The Origins

Ofege

1976

The Last Of The Origins

01. Mandy

02. Amayo

03. Evil Child

04. Tomorrow

05. Got A Lot To Give

06. Sorrow

07. In Concert

08. Everybody Feels The Same

09. Adieau

10. Devils Work

Melvin Ukachi (guitar, vocals)

Paul Alade (bass)

Mike Meme(drums),

Dapo Olumide (keyboards)

Felix Inneh (rhythm guitar)

Ofege, a Nigerian band formed by teenage students from St. Gregory’s College in Lagos, made waves in the early 1970s with their innovative blend of psychedelic rock, funk, and Afrobeat. Their second studio album, The Last of the Origins, released in 1976, follows their massively successful debut, Try and Love (1973). While the user refers to it as Ofege’s third album, standard discography lists it as their second, succeeded by Higher Plane Breeze (1977) and How Do You Feel (1978). For this review, we’ll treat The Last of the Origins as their second album, aligning with its widely accepted place in their catalog.

The Last of the Origins builds on the foundation laid by Try and Love, refining Ofege’s signature sound. The album retains the fuzzy guitar solos, intricate African rhythms, and youthful energy that defined their debut, but introduces a more polished and cohesive approach. The psychedelic rock elements are dialed back slightly, making room for a stronger emphasis on funk and Afrobeat influences—a shift that reflects the growing prominence of Afrobeat in Nigeria during the mid-1970s, spearheaded by artists like Fela Kuti. Tracks alternate between high-energy, groove-driven numbers and slower, melodic pieces, showcasing the band’s versatility and growth as musicians. The interplay between the guitar and rhythm section feels tighter, a testament to their development despite still being in their late teens.

Lyrically, the album moves beyond the carefree exuberance of their earlier work. While themes of love and youthful experiences remain, there’s a noticeable depth in The Last of the Origins. The title suggests a transition—perhaps the end of their initial phase as a band and the beginning of a more introspective chapter. Songs explore personal reflection and subtle social commentary, hinting at a growing awareness of the world around them. This evolution aligns with the band members’ maturation, offering a glimpse into their expanding perspectives.

The production, likely helmed by Odion Iruoje—who shaped the raw yet polished sound of Try and Love—strikes a balance between capturing Ofege’s live intensity and delivering a cleaner, more focused record. Each instrument shines, from the crisp guitar lines to the pulsating bass and drums, creating a sound that’s both dynamic and accessible. The production quality enhances the album’s appeal, preserving the band’s infectious energy while showcasing their instrumental prowess.

Upon release, The Last of the Origins didn’t replicate the commercial success of Try and Love, which sold hundreds of thousands of copies in Nigeria. However, it was well-received locally and solidified Ofege’s reputation as pioneers of Nigerian psych-rock. In recent years, the album has found a new audience through international reissues by labels like Tidal Waves Music and Strut Records. This resurgence has cemented its status as a vital piece of Nigerian music history, introducing Ofege’s innovative sound to global listeners and highlighting their influence on the fusion of Western and African musical traditions.

The Last of the Origins is a worthy successor to Ofege’s debut, demonstrating their evolution as musicians and their continued innovation within the Nigerian music scene. While it may not have achieved the same fame as Try and Love, it remains a compelling listen—blending psychedelic rock, funk, and Afrobeat with a sophistication that belies the band’s young age. For fans of African music, psych-rock, or simply great music, this album offers a vibrant snapshot of 1970s Nigeria and the extraordinary talent of a group of teenagers who dared to break boundaries. Whether you’re a long-time fan or a newcomer, The Last of the Origins is an essential addition to any music collection, capturing Ofege at a moment of creative brilliance.