World Psychedelic Cl – World Psychedelic Classics 3: Love’s a Real Thing [New Vi Artist: World Psychedelic Classics 3: Love’s A Real Thing Title: World Psychedelic Classics 3: Love’s a Real Thing Format: Vinyl LP Genre: World Dance UPC: 680899005210 Release Date: 2014 Record Label: Luaka Bop Album TracksDISC 1:1. Orchestre Poly-Rythmo Decotonou Dahomey – Minsato Le, Mi Dayihome – Orchestre Poly-Rythmo Decotonou Dahomey2. Super Eagles – Love S a Real Thing – Super Eagles3. Moussa Doumbia – Keleya – Moussa Doumbia4. Manu Dibango – Ceddo End Title – Manu Dibango5. Sorry Bamba – Porry – Sorry Bamba6. Orchesta Number One de Dakar – Guajira Ven – Orchesta Number One de DakarDISC 2:1. William Onyeabo – Better Change Your Mind – William Onyeabo2. Ofo and the Black Company – Allah Wakbarr – Ofo and the Black Company3. Gasper Lawal – Awon-Ojise-Oluwa – Gasper Lawal4. Bunzu Sounds – Zinabu – Bunzu Sounds5. Tunji Oyelana and the Benders – Ifa – Tunji Oyelana and the Benders6. Orchestre Régional de Kayes – Sanjina – Orchestre Régional de Kayes 2014 double vinyl LP reissue of the 2005 original. Seeped in the heavy electric sounds of the ’70s, this cohesive introduction to the wild music of West Africa is an experience for any psychedelia fan. There’s the raucous sounds of psychedelic rock, the exuberance of soul, the sweetness of Latin rumbas and the madness of the Afro-beat, all combining to produce one powerful, provocative sound. „Guajira Van,“ with it’s fuzzy guitar solo, is chill; „Allah Wakbarr“ is more heavy, with it’s acid rock guitar lead ringing as a conga drum keeps time. There’s alien keyboard sounds in „Better Change Your Mind,“ an organ solo in „Ifa“ and funky Afro-beat in „Love’s A Real Thing.“ A great survey of west Africa altogether, this album is an excellent entry point for the new listener. Luaka Bop.© DirectToU LLC. All Rights Reserved.
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Various Artists – World Psychedelic Classics 3: Love’s a Real Thing
These twelve astonishing tracks are drawn from a broad spectrum of early 70s West African psychedelic classics. Yet the fact that they scarcely registered on the Richter scale of contemporary underground music must surely be one of the greatest ironies of modern popular music, given that western counterculture drew so heavily on the musical, aesthetic and visual traditions of Africa. Musically, the transatlantic links are strong and obvious; from the urban black American soul and funk of James Brown, through the West Coast sounds of Hendrix, to the deeper grooves of Cuban rumba and Latin percussion.