Prolific. That’s a good way to describe Omar Souleyman. After all, how many artists have released over 550 albums? However, not all that glitters is gold. Many of these albums Omar has released are recordings of him singing at weddings. They’re sold at kiosks in Omar’s native Syria. That’s where his nickname the Wedding Singer comes from. Despite Omar’s prolificacy and nearly twenty years in the music industry, he’s still hadn’t release a studio album. That was until Omar Souleyman released Wenu Wenu on Ribbon Music. 

Wenu Wenu, Omar Souleyman’s debut album is long overdue, but has been well worth the wait. Granted he’s released over 550 live albums. Most of them were recorded when Omar sung at weddings in his native Syria. That’s how he acquired the nickname the Wedding Singer. He’s now forty-five and has gained recognition much further afield. 

From America, Europe and Britain, belatedly, people are discovering one of Syrian music’s best kept secrets. It’s better late than never. Now some of the biggest artists  in music are wanting to work with Omar Souleyman. At last his talent has been recognizsed. So has Omar’s ability to create genre-melting music. That’s the case on Wenu Wenu, Omar’s recently released debut album on Ribbon Music. Wenu Wenu sees Omar fuse everything from Arabic, dance, electronic, folk, funk and soul. It’s combined by producer Kieran Hedben on Wenu Wenu.

When anyone listens to Omar Souleyman’s debut album Wenu Wenu, they can’t help but be captivated by his voice. As he sings in Arabic, his rasping vocal veers between worldweary, lovelorn, heartfelt and heartbroken. Tales of love and love gone wrong are familiar themes for Omar. A man of few words, Omar takes the music of Syria’s past and reinvents it. The result is Wenu Wenu, a delicious fusion of Arabian and Western music from Omar Souleyman, the one time Wedding Singer who now looks like being a worldwide star and belatedly enjoying commercial success and critical acclaim.


It’s almost ironic that Peter King, one of Nigeria’s best musicians, is better known in Europe and America than in his home country. Peter King’s is widely regarded as one of Nigeria’s most talented musicians. His name is synonymous with his Miliki Sound, a captivating fusion of African musical genres and influences. Miliki Sound was also the title of Peter King’s 1975 debut album, which was recently released by the Brighton based Mr. Bongo label.

This was the first of seven albums Peter King recorded between 1975 and 2002. However, there’s much more to Peter King’s career than seven albums. Here is a man who invented a musical genre, founded his own musical school, studied at London’s prestigious Trinity College of Music and performed in the middle of a war zone. Then there was Peter’s time as a member of the African Messengers who doubled as a backing band for Diana Ross, The Four Tops and The Temptations. Action packed describes Peter King’s long career, which began with his 1975 debut album Miliki Sound.

For anyone yet to discover Peter King’s music, there’s no better place to start than Miliki Sound. It’s easily his most accessible album. Not only that, but it’s truly irresistible album filled with delicious rhythms. Although only six songs and thirty minutes long, it’s an almost flawless album. From the opening bars of Miliki Sound right through to the closing notes of Gvinmi Komo, it’s a joyous, uplifting and irresistible musical experience. I’d describe Miliki Sound as a call to dance, one you can’t help but submit to. It’s almost mocking you, daring you to submit to its glorious rhythms. There’s more to Miliki Sound than some delicious rhythms. Much more.

Intricate, multilayered and complex, Miliki Sound is filled with numerous subtleties, surprises and nuances. Musical genres and influences are thrown into the musical melting pot by Peter King and producer Sonny Roberts. This included everything from Afro-Beat, soul, funk, jazz and blues. Add to this Afro-Jazz, high life and wild life. It’s a glorious and unique fusion of styles and influences. Miliki Sound also proved to be a hugely influential album. So influential, that it gave birth to a new musical genre, Miliki Sound. This is a fitting tribute to the quality of music on Miliki Sound, Peter King’s debut album. Having earlier described Miliki Sound not just as an infectiously catchy, irresistible album, I’d add to that innovative, imaginative and influential.


All too often, innovative music isn’t appreciated when it’s released. It passes almost unnoticed. Apart from a few people, who realize the importance of the music, and champion it passionately, it can be years, even decades later, that the importance of an artist or album is recognized. This has been the case with so many artists, including Nigerian multi-instrumentalist Peter King. 

For those still to discover Peter King’s music, his name is synonymous with his Miliki Sound, a captivating fusion of African musical genres and influences. Peter released seven albums between 1975 and 2002. His debut album was Miliki Sound. That shouldn’t have been the case. Instead, Shango should’ve been his debut album. Recorded in 1974, in Camden, London, using the money Peter was paid to write the music that accompanied a political documentary, Shango lay unreleased. Discovered again in 2002 by Strut Records, who released the album for the first time, Shango was discovered by a new generation of music fans who’d been introduced to Afrobeat through in the eighties. Now eleven years later, Shango has been long out of print. So, Mr. Bongo decided to rerelease a remastered version of Peter King’s lost album Shango.

On its release, Shango was described as Peter King’s lost classic. That was no exaggeration. From the opening bars of Shango, right through to Watusi it’s all killer and no filler. Given how good Shango is, why it wasn’t released seems strange. After all it’s a truly innovative album of progressive music. Fusing Afrobeat, funk, jazz, psychedelia and soul Peter King doesn’t put a foot wrong. Shango should’ve been the album that it introduced the world to Peter King. Sadly, that wasn’t the case. A really accessible album and truly irresistible album, Shango is filled with delicious rhythms. Best described as a joyous, uplifting and irresistible musical experience, sometimes it’s melancholy and wistful, other times, Shango is a call to dance, one you can’t help but submit to. It’s almost mocking you, daring you to submit to its glorious rhythms. Having said all that, there’s much more to Shango than some delicious rhythms. Listen carefully to Shango, and the music is intricate, multilayered and complex. You’ll hear subtleties, surprises and nuances. Musical genres and influences melt into one. They were thrown into the musical melting pot by Peter King. Given a stir, Shango, Peter King’s eclectic fusion of styles and influences, is a dish that’s best delicious and best tasted often, by discerning musical diners.


Having released his debut album Pharoah’s First in 1964, Pharoah Sanders went on to release over thirty albums. As if this isn’t impressive enough, he’s accompanied jazz legends John and Alice Coltrane, McCoy Tyner and Don Cherry. Pharoah’s other collaborations have included working with such luminaries as Terry Callier, Sun Ra and Ornette Coleman, who referred to Pharoah as “probably the best tenor player in the world.” This is high praise indeed. However, for anyone who has heard Pharoah’s legendary sheets of sound, this isn’t unexpected. Especially, for anyone familiar with Pharoah’s Impulse albums.

There’s no doubt that Pharoah’s best work was for Impulse Records. This is no surprise. After all, Impulse was one of the most groundbreaking, innovative labels. Jazz pioneers like John Coltrane, Coleman Hawkins, Chico Hamilton and Max Roach called Impulse home. Whilst signed to Impulse, Pharoah released ten albums between 1966 and 1974. This included Elevation, which was released in 1973.

This includes albums like Karma, Jewels Of Thought, Thembi and Black Unity. They feature Pharoah Sanders at his best. Elevation deserves to be mentioned in the same breath. That’s despite Elevation dividing opinion upon its release. A fusion of everything from Afro-beat, avant-garde, free jazz, post bop and progressive jazz Elevation was well received. However, Elevation didn’t receive the same critical acclaim as previous album. There’s a reason for that. Free jazz was no longer as popular. It was perceived as yesterday’s music. That seems strange, given that it was a groundbreaking and innovative album. 

Elevation deserved to fare better, much better. Sadly, that wasn’t the case. It neither received the critical acclaim nor commercial success it deserved and warranted. Now Elevation has been rereleased by Sounds Of The Universe, an imprint of Soul Jazz Records. Maybe now, Elevation will be reappraised and seen as an album that was ambitious, bold, innovative and progressive. After all, that describes so much of Pharoah Sanders’ music including Elevation.


During their seventies heyday, Ripple released just two albums and nine singles. This included two dance classics. The first of these was I Don’t Know What It Is, But It Sure Is Funky. Released in 1973, it reached number sixty-three in the US Billboard 100 and number eleven in the US R&B Charts. Although they released another six singles for GRC, they never replicated the commercial success of I Don’t Know What It Is, But It Sure Is Funky. Then in 1976, their time at GRC ended somewhat abruptly. 

GRC Records was a successful Atlanta label. It was run by Michael Thevis, an infamous porn baron, nicknamed the Scarface of Porn. In 1976, his luck ran out. He was charged with, and found guilty of, various offenses. When he was sent to prison, GRC Records folded. This left their roster of artists, who included Loleatta Holloway and Ripple, without a label. Like Loleatta Holloway, Salsoul Records, which was now disco’s premier label, would be their new home. That’s where Ripple released the genre-melting Sons Of The Gods, which was recently released by BBR Records.

Five years after Ripple had released their eponymous debut album, they were back with Sons Of Gods. This couldn’t have been easy. After all, if an artist isn’t releasing music regularly, they’re forgotten about. Luckily, Ripple had several secret weapons. The first was The Beat Goes On And On, which gave them the biggest single of their career. Things looked good for Ripple. Then Sons Of Gods failed to chart. For Ripple, producer Floyd Smith and everyone at Salsoul they must have been shocked. Sons Of Gods should’ve fared much better. 

Of the eight songs on Sons Of Gods, there’s no filler. Far from it. Call Me Traveling Man and Facts Of Life are two beautiful slices of soul. Then there’s the cosmic funk of Sons Of The Gods. Genres then melt into one on Victorious, Here I Stand and Do What You Wanna Do. Just about any one of these tracks could’ve been released as a single. Instead, they released the weakest track on Sons Of Gods, Today. Salsoul should’ve chosen either the beautiful ballad that is Call Me Traveling Man, or Here I Stand, which is full of slick, poppy hooks. They didn’t. Today failed to chart. That was the end of Ripple’s recording career. 

While there was a short-lived comeback in the nineties, Ripple’s career was all but over. The commercial success and critical acclaim they enjoyed isn’t a reflection on their talent. Who knows what would’ve happened if another track had been chosen as the second single? That could’ve rejuvenated Ripple’s career. Sadly, that wasn’t the case and Ripple’s second album Sons Of The Gods which was recently released by BBR Records proved to be their swan-song. What could’ve been a long and successful career was cut short. Ripple’s career consists of just two albums, of which Sons Of The Gods is the best. Not only does Sons Of The Gods feature their biggest hit The Beat Goes On And On, but is a reminder of Ripple’s versatility and talent.

Sons of the Gods


Rodion G.A’s The Lost Tapes was one the most eagerly awaited albums of 2013. It’ll be released Strut Records on 27th May 2013. However, Rodion G.A. aren’t a new band. Quite the opposite. Instead, Rodion G.A. were formed by Rodion Rosca between 1975 and 1976. The ten tracks that comprise The Lost Tapes are experimental and innovative tracks which were recorded during the early eighties. Incredibly, this the first album Rodion G.A. have released during their long career, which stretches back to the seventies. Apart from two tracks released by the Romanian state-owned Electrecord label, no other material by Rodion G.A. has been released during the past four decades. That’s what makes this such an exciting project. Indeed, for those that haven’t heard of Rodion G.A, The Lost Tapes is an opportunity to discover one of music’s real innovators, which I’ll now tell you about.

Like so many other artists, the words enigmatic is the perfect way to describe Rodion Rosca. He was born in Romania and is half-Romanian and half-Hungarian. Rodion grew up in Romania during the open period between 1965 and 1972. During this time, Rodion was exposed to an eclectic selection of musical influences, he heard on the radio. This included everything from rock, pop and jazz music. While the music he heard on the radio was primarily English and American, the city of Cluj, on the border with Hungary, had a healthy musical scene. 

Among Cluj’s lead bands were prog rock groups like Cromatic and Experimental Quintet. Soon, Rodion had immersed himself in the local music scene and had established a reputation as a prolific collector of vinyl, including the classic rock of  Led Zeppelin, The Beatles, Jimi Hendrix and The Who. Rodion didn’t restrict himself to classic rock. He was also interested in the more progressive, electronic bands of the era, including groups from Eastern and Western Europe. This included Jethro Tull, Emerson, Lake and Palmer and Yes, plus West Germany’s Kraftwerk, East Germany’s Karat, Czechoslovakia’s Matador and Hungary’s Skorpio. These eclectic influences would influence Rodion Rosca’s musical career.

Although innovative is an overused word, Rodion G.A. were a truly innovative group. They weren’t afraid to push musical boundaries. In doing so, they fused musical genres, throwing everything from rock, jazz, prog rock, electronic, ambient and classical music into their musical melting pot. Having given it a stir, the result was a unique, enthralling and captivating sound that was unlike anything else of its time. Indeed, Rodion G.A. were way ahead of their time.

Sadly, Rodion G.A’s career lasted just over ten years. In 1987, after the death of his mother, Rodion Rosca walked away from music. For the next twenty-five years, nothing was heard of this charismatic, enigmatic and mercurial musician. Then in 2012, blogger and filmmaker Luca Sorin tracked Rodion down. Thanks to Luca, Rodion G.A. played a comeback concert and on 27th May 2013, The Lost Tapes will be released by Strut Records. Amazingly, The Lost Tapes is Rodion G.A’s debut album and will give a new generation of music lovers the opportunity to discover the music of an innovative and visionary musical group.


Producer Swamp Dogg hadn’t known Sandra Philips long before he signed her to Canyon Records. Swamp Dogg was introduced to Sandra by her ex-husband. He let Swamp Dogg hear a single she cut for Epic. This was kismet. Not only was Sandra hugely talented, but she’d potential. She was desperate to forge a career in music. Her soulful, emotive voice that could make lyrics come to life. This was just what Swamp Dodd needed. It would fill a void left by Doris Troy who Swamp Dogg had previously worked with. Doris was proving unreliable. She’d stopped taking Swamp Dogg’s calls, was missing concerts. Then there was the small matter of a Buick Estate Wagon Swamp Dogg bought her. It had been shot up by her new “manager.” So, with Doris Troy looking unlikely to have much of a future with Swamp Dogg. That was a huge loss. After all, Doris had released the Deep Soul classic I’m A Loser. Doris could’ve and should’ve been one of the biggest female soul singers. Sadly, that wasn’t the case. She’d gone A.W.O.L. and someone was needed to fill that huge void.

That’s where Sandra Phillips came in. Realising the potential Sandra clearly had, Swamp Dogg signed her to Canyon Records. He then took Sandra down to Macon, Georgia, where with a crack band in tow, Sandra Phillips recorded Too Many People In One Bed for Canyon Records. It could’ve and should’ve been the album that launched her career. After all, Sandra was talented singer, capable of bring lyrics to life. Songs takes on a cinematic quality. Pictures unfolds before your eyes. The characters within the twelve songs become very real. So much so, you end up sharing their hurt and pain. Not every singer can make music come alive like that. No. Far from it. However, Sandra Phillips could. 

That’s apparent on Too Many People In One Bed, which is like a twelve short stories. Tales of betrayal, heartbreak, loneliness and love gone wrong, it’s all on Too Many People In One Bed. A whole range of emotions come pouring out. We also see different sides to Sandra Phillips. One minutes she’s heartbroken, the next defiant, feisty or sassy. Whether Sandra’s vocal is powerful or tender, it’s equally effective. For that reason, there are no disappointments on Too Many People In One Bed. Instead, Too Many People In One Bed is a reminder that Sandra Phillips could’ve and should’ve enjoyed a successful career. Sadly, it wasn’t to be. Sandra’s musical career petered out. She retrained and enjoyed commercial success and critical acclaim as an actress. However, Sandra Phillips’ life and career could’ve been very different, if Canyon Records hadn’t folded. Maybe then, she’d have enjoyed the commercial success and critical acclaim that later came her way as an actress. Too Many People In One Bed which was rereleased by Alive Records, is a tantalising reminder of one of Southern Soul’s best kept secrets, Sandra Phillips.


Despite enjoying a career that lasted four decades, Bedu Silvetti is always remembered for his disco classic Spring Rain. It originally featured on Silvetti’s 1976 debut album World With Words. On its release as a single in January 1977, it reached number four in the US Disco Charts. Seven months later, Spring Rain was the title of Silvetti’s Salsoul album. Released in August 1977, Spring Rain, which was  released by BBR Records, showcased one of the most innovative and important producers of the disco era. That’s no exaggeration and why Spring Rain is an almost flawless album. 

A fusion of musical genres, everything from disco, funk, jazz, and soul sat comfortably next to calypso, Latin and classical music on Spring Rain. Sometimes, four or five musical genres melt into one during just one track. Often, this results in music that epitomises the Salsoul sound. The strange thing is, that while Salsoul is a New York label, Silvetti was a Spanish producer. However, Silvetti’s music has the same sound, ethos and sheen as Salsoul. Despite this, Spring Rain never enjoyed the same commercial success as many of Salsoul’s release. Maybe the problem was people didn’t understand Spring Rain?

That’s often the case with innovative and imaginative music. Spring Rain was a progressive album, way ahead of the musical curve. Sculptural, elegant and ethereal, the music of the past and the present met head-on. The result was an album that was dance-floor friendly, soulful, Latin-tinged and jazzy. That describes Spring Rain, an album that’s pretty near flawless. 

Best know for its title-track, which is a disco classic, there’s much, much more to Silvetti than Spring Rain. Much more. Silvetti released a string of solo albums, then worked as an award winning composer, arranger and producer. Critical acclaimed and commercial successful, Silvetti’s work as a composer, arranger and producer lead to him winning numerous prestigious awards. This includes being named Billboard’s producer of the year in 2002. Then in 2003, the year of his death, Silvetti won a Latin Grammy Award. Despite enjoying such a successful and award winning career, many people remember Silvetti for just one song, Spring Rain. Mind you, if you’re going to be remembered for just one song, make it as good as Silvetti’s Spring Rain, a timeless, disco classic.


Two years in the making, Sly and The Family Stone released There’s A Riot Goin’ On was released in November 1971. It was the followup to 1969s Stand, Sly and The Family Stone’s fourth album. Released to critical acclaim, Stand was Sly and The Family Stone’s breakthrough album. Reaching number thirteen in the US Billboard 200 and number three in the US R&B Charts, Stand was Sly and The Family Stone’s most successful album. That was, until the release of There’s A Riot Goin’ On, which was rereleased by Get On Down in July 2013. This is no ordinary rerelease. It’s a luxurious, lavish box set. That’s quite fitting. After all, There’s A Riot Goin’ On is no ordinary album. Far from it. It’s  psychedelic, genre-melting album full of biting social comment, There’s A Riot Goin’ On was instantly hailed a classic album. That’s despite the turmoil that surrounded a band lead by the charismatic Sly Stone. 

Ever since the release of Stand, chaos and controversy had surrounded one of the most flamboyant bandleaders of the sixties and the seventies, Sly Stone. There were tales of large scale drug usage, possible changes in personnel and involvement with gangsters. Then there’s the infamous violin full of drugs which accompanied Sly Stone everywhere. That There’s A Riot Goin’ On ever got made is a musical miracle. Much had changed in the world of Sly and The Family Stone. 

At this time, relationships within the band were at an all time low, especially among The Stone brothers Sly and Freddie, and bassist Larry Graham. Tense doesn’t come close to describe their relationship. Ironically, Larry’s bass playing would be crucial to the success of what became There’s A Riot Goin’ On. It provided the heartbeat to the album. Sadly, the tension between the band members wasn’t the only problem surrounding Sly and The Family Stone. The other problem was that drug use was rife within the band. Stories emerged that Sly Stone allegedly, carried a violin case full of drugs everywhere the band went. Drug use had worsened when the band had relocated to California. PCP and cocaine were now the drugs of choice for the band. This started to affect the recoding schedule and tours. Sly’s moods changed One minute he was upbeat and happy, then suddenly he was moody. His behaviour started to become erratic. Between concerts, it was reported that he spent much of his time taking drugs. For a band who’d just enjoyed two hugely successful albums, Sly and The Family Stone were shooting themselves in their foot at every turn. Despite that, they recorded a classic album… There’s A Riot Goin’ On.

Against insurmountable odds, Sly and The Family Stone recorded the greatest album of their career. Somehow, they overcame influence of drugs, gangsters and The Black Panthers. There was internecine warfare between members of the band. This lead to drummer Greg Errico leaving the band. Up against it, Sly and The Family Stone dug deep. Fusing blues, funk, jazz, pop, psychedelia and rock musical genres and influences combine. Influenced by Miles Davis, Jimi Hendrix, John Coltrane, Muddy Waters, Sun Ra and The Beach Boys, Sly and The Family Stone recorded an eleven-song opus There’s A Riot Goin’ On.

Surrounded by a group of hugely talented musicians, they provided the genre-melting backdrop to his vocals. Veering between languid and lazy, to a rasping, grizzly, growl, sometimes his vocal is slightly muffled. Despite this, charisma oozes out of Sly Stone, the proverbial showman. A flamboyant showman, he was lead singer, multi-instrumentalist and producer.  

Produced by Sly Stone, he used multitrack recording to its fullest. Like a 20th century shaman, Sly locked himself in the studio and began work on his masterpiece. He recorded layer upon layer of music during long nights spent recording. Often he was on his own. This meant he’d no-one to challenge his decisions and authority. A perfectionist, much of the music was rerecorded. Overdubbing was used widely. Although it adds to depth and density to the music, it can detract from the sound quality. On There’s A Riot Goin’ On it adds to the album’s depth, darkness, charm and success. Certified platinum, and featuring the dual number one single Family Affair, which was certified gold, There’s A Riot Goin’ On was their fifth album, and an album that wouldn’t be better. That’s why it’s included in the Rolling Stone magazine’s list of the 500 best albums of all time. Sly and The Family Stone had recorded a stonewall classic. Up against unsurmountable odds, somehow, Sly pulled off the impossible and delivered an album that he’d never better.


Described as an album gonzo soul from a true musical maverick, Total Destruction Of Your Mind was the debut album from Swamp Dogg. Released in 1970, Total Destruction Of Your Mind saw Swamp Dogg draw inspiration from everyone from Frank Zappa, Van Morrison to Sly Stone. Everything from soul, funk, R&B and rock was thrown into the mix. So were songs about war, peace, love, rednecks, cheaters and politics. Controversial, and known for speaking what he be believed to be the truth, Swamp Dogg even managed to make it onto disgraced President Nixon’s infamous enemies list. Swamp Dogg it seemed, was doing something right. That included making music that was downright funky, rock tinged and deeply soulful. Total Destruction Of Your Mind his debut album is proof of this.

Jerry Williams, A.K.A. Swamp Dogg, was twenty-eight when he began work on Total Destruction Of Your Mind. Born in March 1942, in Portsmouth Virginia, Swamp Dogg was a singer, songwriter, multi-instrumentalist and producer. He’d left home as soon as he was old enough. His parents weaned the young Swamp Dogg on country music. Country music would influence Swamp Dogg’s debut album Total Destruction Of Your Mind, which marked a change of direction of Swamp Dogg.

During the sixties, Jerry Williams was for most part, a regular guy. He was a successful singer, songwriter and producer. Mostly, Jerry was content to help other people become stars. He wrote songs, played on their albums and produced their music. Then, as the sixties drew to a close, Jerry Williams dropped acid. It was a life changing experience.

The Doors of Perception, as Aldous Huxley said, had been opened. Jerry Williams changed. Psychedelics became his drug of choice. This stimulated his creativity. However, he desperately needed an outlet for this heightened creativity. So he adopted an alter ego Swamp Dogg. He became obsessed by sex, drugs, politics, culture and class. All these subjects came out in his music. His music was funny, prickly, gritty, acerbic and angry. Often, politicians felt the wrath of Swamp Dog. For the newly enlightened Jerry Williams, Total Destruction Of Your Mind introduced the world to Swamp Dogg.

When it was released in 1970, Total Destruction To Your Mind didn’t sell well. The album was well received, but sales were poor. Maybe the problem was that Canyon Records was only a small record company with a small budget. Sly Stone, who Swamp Dogg is often compared to, was signed to a major label. His music was hugely successful. However, Sly’s label had a bigger budget with a larger staff. This made a huge difference. Gold and platinum discs came Sly’s way. Sadly, for Swamp Dogg, commercial success eluded Total Destruction To Your Mind, which was recently released by Alive Records. 

Despite commercial success eluding Total Destruction To Your Mind, it’s seen as a lost classic. It features the reinvention of Swamp Dogg, one of the most innovative and creative musicians of his generation. No wonder. Total Destruction To Your Mind marked the blossoming of Swamp Dogg, when he was embarking upon his career as a musical pioneer and innovator. After that, Swamp Dogg released a series of groundbreaking albums. The first of these was Total Destruction To Your Mind, which introduced the world to one of music’s pioneers, Swamp Dogg.



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