Back catalogue: All genres

Review: In celebration of 50 years in the performing arts, Idris Ackamoor presents Artistic Being for Record Store Day 2025-a powerful blend of jazz, spoken word and activism. Featuring the voices of acclaimed actor Danny Glover and stage legend Rhodessa Jones, this record captures highlights from the Underground Jazz Cabaret, which was performed during Black History Month 2024 at The Lab in San Francisco. Co-produced by Ackamoor's Cultural Odyssey, the release fuses poetic storytelling with evocative musical textures while reflecting on social justice, identity and resilience. Artistic Being is a profound statement from a visionary artist.

Review: Strut's reissue of Experience Unlimited's 1977 debut Free Yourself offers a fresh dive into a seminal record that paved the way for Washington D.C.'s go-go scene. Originally released in 1977, this album fuses soul, jazz, and funk-rock, showcasing the band's eclectic and pioneering style. Formed in 1973, Experience Unlimited caught the eye of Black Fire Records' Jimmy Gray after a school talent show victory. Bandleader Gregory "Sugar Bear" Elliott recalls their early days in the studio with a sense of youthful spontaneity, capturing their genuine selves. Free Yourself reflects this spirit with its vibrant and varied tracks. From the soulful reflections of 'Peace Gone Away' to the funk-driven 'Funky Consciousness' and the nascent go-go grooves of the title track, the album radiates positive energy and innovation. The reissue preserves the original artwork, including Malik Edwards' cover painting, and features remastering by The Carvery. Accompanied by a new interview with Sugar Bear and rare photos, this edition brings a crucial piece of music history back into the spotlight.

Review: Popularly known to fans as "Ice" - a rare case of hypocorism in colloquial fan band nicknaming - Strut Recordings document a rare record from the vaults of the luminary Lafayette Afro-Rock Band, one that is arguably the closest in their catalogue to the signature sound defining their earlier work. Marked by an especially complex funk rhythmology, this record was pressed contemporaneously with the infamous Soul Makossa and Malik sessions; but compared to their earlier works, Afro Agban pushes deeper into jazz-rock territory. 'Ozan Koukle' has espceially become a known but coveted missing link for turntable taxonomists, who'll thank their lucky stars for the fact that it is now available in full.

Review: Ice's early work captures a pivotal moment in funk's evolution, weaving together taut grooves and vibrant African-inspired rhythms. Recorded during the band's formative years, the music brims with raw energy and creative ambition. Polished basslines drive the tracks, while percussion bursts with a vitality that speaks to their Parisian influences at the time. Horn stabs and tightly wound guitar lines add layers of complexity, and the occasional vocal inflection injects a sense of urgency. With each listen, the production reveals new texturesismall details that elevate the record beyond its era.

Review: Strut's latest release is a freshly remastered edition of Juju's influential 1974 album Chapter Two: Nia which is bound to excite those looking for a nice copy of this unique record. This reissue shines a spotlight on Juju's unique fusion of Afrocentric jazz and black nationalist poetry, recorded during a transformative period for the band. Founded in San Francisco and relocated to New York in 1972, Jujuiled by James "Plunky" Branchiimmersed themselves in the avant-garde scene, performing at notable venues like Slugs and Ornette Coleman's loft. By 1974, the band had moved to Richmond, Virginia, seeking a creative refuge from New York's high living costs. They settled into what they called the Juju Raga Artist House, a cultural hub that also functioned as the state's first black arts gallery and performance space. Chapter Two: Nia, recorded at Eastern Recording Studios, reflects Juju's commitment to Afrocentric themes and includes a freeform rendition of Pharoah Sanders' 'Black Unity.' The reissue retains the original artwork, adapted from a concert video by Collis Davis, and has been remastered by The Carvery for enhanced sound quality. It also features new liner notes from Plunky Branch, offering deeper insights into the band's revolutionary impact and creative journey.

Review: A Dancefloor in Ndola, curated by East African DJ Kampire for Strut Records' 25th anniversary, is a great example at the broad sounds of classic East and Southern African music. With 13 tracks that span genres like Congolese rumba, South African bubblegum, and Zambian kalindula, the compilation pays homage to the rich musical heritage of the region. Kampire's personal connection to the music, shaped by her upbringing in Ndola, Zambia, adds depth to the compilation. Through her own edit of 'Ririmi Rotsombela' and personal liner notes, she traces her links to the music, creating a nostalgic experience for listeners. The compilation not only celebrates well-known artists but also shines a spotlight on women in African music from the 80s, including legends like Pembey Sheiro, Feza Shamamba, and Princesse Mansia M'bila. It's a testament to the diversity and richness of African music history. With its blend of classic tracks and Kampire's personal touch, A Dancefloor in Ndola is more than just a compilation; it's a cultural journey that highlights the beauty and significance of African musical traditions.

Review: Always keen to break new ground, Strut's latest compilation comes not from a well-known European or American crate-digger, but rather Kenyan-born, Uganda-based DJ Kampire. A Dancefloor in Ndola sees her look back to her time growing up in Zambia and specifically the music she heard and loved during these formative years. It's a great idea, executed brilliantly, with Kampire showcasing an enticing and highly entertaining mix of East and South African music from the 70s and 80s, including Congolese rumba and soukous, bubblegum, and kalindula, a guitar-led style native to Zambia. It's a joyous an eye-opening collection all told and notable for - aside from the high quality throughout - Kampire's decision to showcase a high number of tracks from legendary and little-known female artists. A genuinely essential collection all told.

Review: Strut proudly presents the first official remastered reissue of Lafayette Afro Rock Band's elusive funk/Afro original album, 'Malik,' originally released in 1974, on Limited Edition coloured vinyl. In 1971, the seven-member Afro-American ensemble, initially known as the Bobby Boyd Congress, moved from the U.S. to France. Bandleader Frank Abel recalls, With lead singer Bobby Boyd's return to the US, the group rebranded as Ice and collaborated with independent producer Pierre Jaubert, who had worked with legends like Charles Mingus and Archie Shepp. Inspired by Motown's work ethic, Jaubert initiated regular rehearsals with Ice. The band, immersed in Paris's African-dominated Barbes district, began infusing African elements into their music, often performing with Cameroonian composer Manu Dibango. As the Lafayette Afro Rock Band, they shifted to predominantly instrumental compositions with a dense Afro-funk sound. Their debut as Lafayette included 'Soul Makossa' and the impactful break in 'Hihache.' A year later, 'Malik' refined their sound with tracks like the percussive 'Conga,' atmospheric 'Djungi,' and robust 'Darkest Light.' Though initially limited in impact, 'Malik' gained appreciation as hip-hop culture flourished in the 80s, becoming a rich source of samples. This remastered reissue, crafted by The Carvery from the original tapes, has the full album and original artwork.

Review: The reissue of Oneness Of Juju's 1976 album Space Jungle Luv stands as a crucial addition to the Black Fire Records reissue series. When James "Plunky" Branch founded Oneness Of Juju in 1975, he had already spent years engulfed in the vibrant jazz scenes of both coasts. The group, previously known as Juju, was deeply rooted in New York's avant-garde jazz scene. However, upon relocating to Richmond, Virginia, Plunky gathered a fresh ensemble, blending African rhythms with funk and r&b. This lineup produced two of their most acclaimed albums, African Rhythms and Space Jungle Luv. This era marked the band's peak, with Space Jungle Luv embodying a shift towards a more serene, spiritual sound. The album showcases Lady Eka-Ete's enchanting vocals and guitarist Melvin Glover's celestial tones. Plunky's vision for this record was influenced by artists like Pharoah Sanders, aiming to deliver a message of spiritual upliftment through "space music, jungle music, love songs." Tracks like 'River Luvrite' and 'Follow Me' explore themes of unity and exploration.

Review: Strut's 2024 reissue of Sun Ra's Lanquidity, an iconic 1978 release, celebrated for its fusion of cosmic jazz and avant-garde experimentation. Recorded in a single night at Bob Blank's studio, the album shows off the rich Arkestra's blend of sound with eight horns, four percussionists, and electric guitars.'There Are Other Worlds (They Have Not Told You Of)' stands out as a hypnotic, dream-like piece that subverts traditional forms with its blend of ambient and vibrant passages. The album is a standout in Ra's extensive catalog for its fusion-inspired, freeform approach. The single LP version includes five tracks, akin to the original. Starting with the smooth, cosmic exploration of 'Lanquidity,' is like a celestial mapping akin to an Ancient Egyptian stargazing ceremony. 'Where Pathways Meet' follows with a funky, march-like rhythm reminiscent of a Pharaoh's pep-talk, showcasing Ra's unique fusion of Egyptian motifs and jazz. The groove deepens with 'That's How I Feel,' featuring reflective trumpet lines and intricate solos. 'Twin Stars Of Thence' highlights Richard Williams' celebrated bass with its funky, elastic rhythm. The album closes with the haunting 'There Are Other Worlds (They Have Not Told You Of),' a piece steeped in space music that poet Mama Nzinga likened to a journey through the essence of light and deep space.

Review: Strut's definitive vinyl edition of Nigeria 70 brings fresh vitality to a landmark compilation first released in 2001. This collection, renowned for its role in popularizing 1970s Lagos music, remains a vital exploration of Afro funk and Afro jazz, showcasing a vibrant cross-section of Nigerian music that extends beyond Fela Kuti's legacy. The reissue offers a rich tapestry of sounds that captured Nigeria's dynamic musical landscape. Starting with Monomono's 'Loma Da Nigbehin,' the album dives into deep, rhythmically complex Afrobeat grooves. Fela Kuti's iconic tracks 'Upside Down' and 'Jeun Ko Ku (Chop 'n' Quench)' highlight the revolutionary funk that defined the era, while Tony Allen's 'No Discrimination' from 1980 exemplifies the genre's evolving sophistication. The compilation's strength lies in its diversity. Tracks like Ofo & the Black Company's 'Allah Wakbarr' and BLO's 'Chant to Mother Earth' introduce psychedelic rock influences, while Joni Haastrup's 'Greetings' and Shina Williams & His African Percussionists' 'Agboju Logun' infuse disco and electro-funk elements into the Afrobeat foundation. William Onyeabor's 'Better Change Your Mind' offers a glimpse into how Nigerian artists engaged with global funk and synthesiser sounds. Nigeria 70 is a great example to the innovative spirit of Nigerian music in the 1970s, reflecting a rich interplay of local and global influences.

Review: Strut introduces the highly anticipated third volume in the Disques Debs International series, diving deeper into the archives of one of the greatest French Caribbean labels, Disques Debs, based in Guadeloupe. Founded by Henri Debs in the late 1950s, the Debs studio naturally doubled as a record label and ran for over 50 years, releasing more than 300 7" singles and 200 LPs, cementing it as one of the foremost record labels to prize Caribbean music history. Not just limited to Guadeloupean musicians but also Martinicians and Parisians, the likes of Jocelyn Mocka, Mariz, Dominique Parol, Christian Yeye and Alex Rosa make this a thixotropic record, mercurial and restless as it is rooted in forms of zouk, biguine, gwoka and, of course, the nascent electronica. This third volume flaunts the label's dynamic latter-day period, as it interpreted the analog electronic dreams of the 1980s.