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| Shango | ||||
|---|---|---|---|---|
 | ||||
| Studio album by | ||||
| Released | 1974 | |||
| Length | 44:41 | |||
| Label | Mr. Bongo | |||
| Peter King chronology | ||||
| ||||
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   [1] |
Shango is an album by Nigerian afrobeat tenor saxophonist Peter King. It was released in 1974, by Mr Bongo Records.
Thom Jurek of AllMusic explained the release "is a mixture of hard African rhythms, James Brown-styled funk, jazzed-up horn arrangements, and political messages. From the standpoint of the Lagos scene, the album is a classic of the period rivaling virtually anything that Fela or Tony Allen were putting across at the time. With King blowing deep-groove soul and out jazz saxophone solos above the chants, the music becomes a boiling pot of hip-shaking sexiness and rage." [1] Writing for London Jazz News, Andrew Cartmel praised the keyboard work throughout the album by saying that it is "strikingly high standard, perhaps reaching a psychedelic peak on Watusi where it suggests Return to Forever-era Chick Corea." [2]
| No. | Title | Length |
|---|---|---|
| 1. | "Shango" | 5:39 |
| 2. | "Prisoner of Law" | 5:40 |
| 3. | "Mr Lonely Wolf" | 6:55 |
| 4. | "Freedom Dance" | 4:10 |
| 5. | "Go Go's Feast" | 7:47 |
| 6. | "Mystery Tour" | 6:19 |
| 7. | "Now I'm a Man" | 3:39 |
| 8. | "Watusi" | 4:39 |
Radiohead are an English rock band formed in Abingdon, Oxfordshire, in 1985. They comprise Thom Yorke ; brothers Jonny Greenwood and Colin Greenwood (bass); Ed O'Brien ; and Philip Selway. They have worked with the producer Nigel Godrich and the cover artist Stanley Donwood since 1994. Radiohead's experimental approach is credited with advancing the sound of alternative rock.
Randolph Denard Ornette Coleman was an American jazz saxophonist, trumpeter, violinist, and composer. He is best known as a principal founder of the free jazz genre, a term derived from his 1960 album Free Jazz: A Collective Improvisation. His pioneering works often abandoned the harmony-based composition, tonality, chord changes, and fixed rhythm found in earlier jazz idioms. Instead, Coleman emphasized an experimental approach to improvisation rooted in ensemble playing and blues phrasing. Thom Jurek of AllMusic called him "one of the most beloved and polarizing figures in jazz history," noting that while "now celebrated as a fearless innovator and a genius, he was initially regarded by peers and critics as rebellious, disruptive, and even a fraud."
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