Afro-Rock originators Osibisa head up their 50th anniversary year with a rare groove collection of songs superbly showcasing their unique musical credentials.

The band that Ghanain Teddy Osei started in 1970 with their first album release produced by Tony Visconti and adorned with Roger Dean’s first-ever album art cover commission, is still roaring as strong as a noble and proud lion.

With a punchy new mix of their perennial big hit Sunshine Day beaming down its happy beat, it’s Feel Good’s infectious dance mix which also proves to be an instant floor-filling anthem.

Live versions of Woyaya and Superfly Man reveals a softer, cool groove vibe and new studio song Abele emphasises this ongoing band’s ability to pen an original classic tune.

Osibisa’s music crosses borders of categorisation from Afro-Rock, Afro-Prog, Highlife, and Dancefloor all delivered with a unique Ghanain, Caribbean, and London world music vibe.

Compiled with performances by players who come and go, including one who was summarily dismissed for intermeddling with band politics, and others who have returned over the years, this is a band with a long, long history of producing outstanding performances throughout their many line up changes.

With a programme of back catalogue reissues about to be rolled out, 2020 promises to be a year of justified celebration for this distinctive band of brothers. To begin, this universal joyful collection of songs unveils a new chapter in the ongoing singular story of the mighty Osibisa.

The Boyhood Sessions
(Red Steel Music)

By Paul Davies

About The Author

I began my career in journalism at the now defunct, pre-digital Smash Hits magazine, which was situated in London's Carnaby Street. After learning the ropes, I washed up at Vox Magazine, essentially the NME'S monthly magazine, as the Internet arrived into our lives. Thereon, I eventually graduated onto Q Magazine when people still treasured the magazine that they bought. My journalistic career since has been on newspapers at The Times, The Independent/i newspaper, Daily & Sunday Express and, ofcourse, National Rock Review.

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