Lafayette Afro-Rock Band - 1973 - Soul Makossa

Lafayette Afro-Rock Band 

1973 

Soul Makossa

01. Soul Makossa    4:55

02. Azeta    6:26

03. M.F. Grayson 4:33

04. Oglenon Mono    8:32

05. Hihache    6:59

06. Voodounon    5:06

07. Right Foot 4:49

08. Nicky "First One"    6:01

Bobby Boyd – Vocals, percussion

Frank Abel – Keyboards

Ronnie Buttacavoli – Trumpet, flugelhorn

Ernest “Donny” Donable – Drums

Lafayette Hudson – Bass

Arthur Young – Trumpet, percussion

Michael McEwan – Guitar

Keno Speller – Percussion

Kue “Ron” Young – Congas, percussion

Lafayette Afro-Rock Band, originally formed as the Bobby Boyd Congress in 1970 in Roosevelt, Long Island, New York, was an American funk band that would become a cult sensation for its innovative blend of funk, rock, and African rhythms. The group was named after its original vocalist, Bobby Boyd, and included guitarist Larry Jones, bassist Lafayette Hudson, keyboardist Frank Abel, horn players Ronnie James Buttacavoli and Arthur Young, drummer Ernest "Donny" Donable, and percussionists Keno Speller and Arthur Young (who also played horns). Finding the U.S. funk scene oversaturated, the band relocated to Paris, France, in 1971, a move that profoundly shaped their sound. After Bobby Boyd returned to the U.S., the remaining members briefly adopted the name Soul Congress before settling on Ice.

In Paris, the band performed regularly in the Barbès district, a vibrant hub of North African immigrants, which infused their music with African rhythms, chants, and textures. Their dynamic performances caught the attention of producer Pierre Jaubert, who made them the house session band at his Parisound studio. Under Jaubert’s guidance, they recorded their debut album, Each Man Makes His Destiny (1972), as Ice, a psychedelic funk exploration. In 1973, at Jaubert’s suggestion, they adopted the name Lafayette Afro-Rock Band to reflect their evolving Afro-funk sound. That year, they released Soul Makossa, featuring a cover of Manu Dibango’s hit and the iconic track Hihache, a breakbeat masterpiece later sampled by artists like Biz Markie, LL Cool J, and Wu-Tang Clan.

In 1974, with guitarist Michael McEwan replacing Larry Jones, the band released Malik, which included Darkest Light, a track with a haunting saxophone intro sampled by Public Enemy, Wreckx 'n' Effect, and others. Their music blended raw funk with jazz-rock improvisation and African percussion, creating a distinctive sound. In 1975, they backed jazz pianist Mal Waldron on his unreleased Candy Girl album and collaborated with bluesman Sunnyland Slim on Depression Blues. They also recorded under aliases like Crispy & Co. and Captain Dax, releasing tracks like the 1976 funky disco single Dr. Beezar, Soul Frankenstein in Japan.

The band reverted to the Ice moniker for albums like Frisco Disco (1976), Thumpin’ (1977), and Seven Americans in Paris (1977). They also recorded Afro Agban (1978), a jazz-rock-leaning instrumental album considered one of their finest works. By 1978, the members returned to the U.S. and disbanded, leaving behind a sparse but impactful discography. That same year, French label Superclasse released Afon: Ten Unreleased Afro Funk Recordings (1971–1974), credited to Lafayette Afro-Rock Band.

Despite limited recognition in the U.S. during their active years, Lafayette Afro-Rock Band became a cornerstone of funk and hip-hop culture due to their breakbeat-heavy tracks. Hihache and Darkest Light became sampling goldmines for artists like Public Enemy, Jay-Z, and De La Soul. The 1999 compilation Darkest Light: The Best of Lafayette Afro Rock Band and the 2016 Afro Funk Explosion! (credited to Lafayette Afro-Rock Band vs. Ice) rekindled interest, cementing their status as funk pioneers. Their work remains a treasure for vinyl collectors and sample hunters, with reissues by Strut Records and others keeping their legacy alive.

Lafayette Afro-Rock Band’s Soul Makossa, released in 1973, is a cornerstone of funk and Afrobeat that has aged into a cult classic, revered for its infectious grooves and influential breakbeats. Recorded in Paris and New York under the guidance of producer Pierre Jaubert, the album showcases the band’s unique fusion of American funk, African rhythms, and rock elements, a sound shaped by their relocation to Paris’ vibrant Barbès district.

The album’s seven tracks—Soul Makossa, Azeta, Oglenon, Voodounon, Hihache, Nicky, and M.F. Grayson (included in some reissues)—deliver a raw, dense, and unapologetic funk experience. The title track, a cover of Manu Dibango’s international hit, is often cited as the weakest link, lacking the spark of the original. However, the band’s original compositions shine. Hihache is the standout, its iconic opening breakbeat becoming one of the most sampled tracks in hip-hop, used by artists like Biz Markie, LL Cool J, A Tribe Called Quest, and even *N Sync. Voodounon and Nicky also impress with their intricate rhythms and contagious energy, blending jazz-based improvisation with Afro-funk grooves.

Critics and collectors praise Soul Makossa for its heavy, no-compromise sound. AllMusic calls it a “raw funk gem,” highlighting its significance in funk history, while Aquarium Drunkard notes how the band’s immersion in Paris’ African community enriched their sound with unique percussive elements. The album’s influence on hip-hop is undeniable, with tracks like Hihache and later Darkest Light (from their 1975 album Malik) providing foundational samples for artists like Public Enemy and Wu-Tang Clan.

Recent reissues, particularly the 2021 Strut Records remaster from the original tapes by The Carvery, have been well-received for their clarity and robust bass, though some listeners note the album’s lo-fi roots can result in slight distortion in louder sections. The 1974 “African Music Today” reissue is said to sound slightly more vibrant, but the Strut version is considered superior to earlier pressings like the Vinyl Me, Please edition. Amazon reviews reflect enthusiasm, with fans calling it a “must-have for funk aficionados” and a “solid dance and melo groove album,” though some mention minor issues with cover durability.

Despite its limited popularity in the U.S. during its initial release, Soul Makossa has cemented Lafayette Afro-Rock Band’s legacy as a funk powerhouse. Its blend of gritty funk, African percussion, and rock-infused energy makes it a timeless listen for fans of the genre and a treasure trove for sample hunters. Highly recommended for those seeking a deep dive into 1970s funk with a global edge.