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Wake Up Your Mind

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Wake Up Your Mind album cover
01
Free My People
4:55 $0.99
02
Greetings
6:15 $0.99
03
Wake Up Your Mind
6:00 $0.99
04
Champions And Superstars
6:15 $0.99
05
Do The Funkro
4:04 $0.99
06
Watch Out
6:13 $0.99
Album Information

Total Tracks: 6   Total Length: 33:42

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Phil Freeman

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Phil Freeman is the former editor-in-chief of Metal Edge magazine and a frequent contributor to the Village Voice, Alternative Press, The Wire, Jazziz and numer...more »

09.27.11
The solo debut of the forefather of Afrobeat
2011 | Label: Tummy Touch Records / Virtual

Joni Haastrup has one of the most fascinating stories in Nigerian music history. The scion of royalty (he’s literally credited on some records as Prince Joni Haastrup, and it’s not a self-selected title), he first came to public prominence in 1966, singing on Orlando Julius Ekemode’s amazing Super Afro Soul album, which is credited with lighting the fuse that launched Afrobeat. A few years later, he hooked up with former Cream drummer Ginger Baker and became a member of Airforce, before forming Monomono in 1971.

Wake Up Your Mind is Haastrup’s solo debut. It’s a much more Westernized album than even Monomono’s somewhat Anglophilic debut, Give the Beggar a Chance. Songs like “Champions & Superstars” and “Do the Funkro” have disco and funk grooves that are both redolent of 1978 (when the record was made) and American artists more than Nigerian ones, even if Haastrup’s thick accent makes his origins plain. The female background vocals in particular are more Chic than Afrobeat. The lyrics are less politically and socially engaged than on the Monomono albums, too — “Do the Funkro” is a dance track, no more and no less, while “Champions & Superstars” is a tribute to two African… read more »

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They Say All Music Guide

The founder of MonoMono, Nigerian Joni Haastrup took a slightly different turn with his 1978 solo debut, Wake Up Your Mind. Recorded in London, he made a disc that was decidedly more American funk than something African, with deep grooves and some fiery solos (listen to the sax and flute work on “Greetings,” for example, both flying over a disco backdrop). It’s politically aware (“Free My People”), but above all, it’s a gem of ‘70s funk. That means there are strings as part of the overall sound, and the bass is mixed happily to the fore, ready to get dancers out on the dancefloor. Although a very talented keyboard player it’s Haastrup’s vocals and composing skills that are front and center here, a move away from the jazz-rock that had been his sound earlier in the decade. Africa is still there, underneath everything, but Haastrup made a truly international album, one that deserved more exposure when it was released, and which should find a wider audience now. – Chris Nickson

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