# Talk:Lafayette Afro Rock Band

This review is transcluded from Talk:Lafayette Afro Rock Band/GA1. The edit link for this section can be used to add comments to the review.
At this point, the article, while well-written, does not appear to be sufficicently comprehensive for GA status. It presents a very brief summary of the band and its recordings. Although the albums are mentioned in passing, I get very little sense for the sound, the sales, the reception, etc.
Although the lead section is supposed to present a summary of the article, much of the information in the lead is not given later in the article.

"they are now considered one of the standout funk bands of the 1970s" is a weasel word problem without stating who considers them to be a standout.
Do any critics comment on the band as a whole? I don't get a sense of what kind of impact, reception, or legacy they have outside of having some songs sampled.
The table for the songs that have been sampled is only partially referenced.
The url for the "On the Continuing Resonance of "Rump Shaker" reference has changed and should be updated in the citation.
I am going to place the nomination on hold to allow for these concerns to be addressed and/or discussed. Any questions or comments can be left here, as I have placed this page on my watchlist. Best wishes, GaryColemanFan (talk) 04:17, 25 October 2008 (UTC)

I respectfully disagree that the article is not comprehensive; it covers a very niche topic and I think have scraped up all the information that can possibly be included without violating various editorial norms (WP:V being paramount). About the sound and reception - I will try to find more about them, but more info on sales is probably out of the question - sales figures from that era are not very reliable, plus this band flew under the radar until the late '80s. On your specific comments:
Will fix this, as well as cite it to a secondary source, rather than AMG.
Not really. Lafayette Afro Rock Band went largely unnoticed during its lifetime, and are famous only for getting some breakbeats stolen from them. The Melody Maker review of their Greatest Hits album is the only thing I could find aside from blogs here and there. I'll try to expand on their reception. I've found a couple mentions in some other music anthologies, but will need some time to get the books from my library.
The table is actually entirely referenced (cite number 3h). I thought it would be better to place it near the heading rather than repeat the same cite thirteen times in the same small table - if you can think of a different way to get this done, I'll be glad to try it out.
Fixed.
I'm also going to rework the entire lead (and knock out your first objection at the same time :]), but please give me a couple of days - I've been swamped with various other obligations recently. Thanks for taking the time to review this article. east718 // talk // email // 15:43, 25 October 2008 (UTC)
If you're willing to work on the article, I'm in no rush. Take care of things in the real world and get back to this article when you have a chance. I've still got this page on my watchlist, and you can also contact me on my talk page. If you will be unable to edit the article for more than five days or so, just let me know. I'll assume you're planning to get to it, but open communication works best. GaryColemanFan (talk) 16:36, 27 October 2008 (UTC)
I'll be able to get to this around Saturday afternoon (eastern time). Sorry about the long delay. east718 // talk // email // 06:46, 31 October 2008 (UTC)
The changes look good. I think the "Reception" section really helps. I am promoting the article, as it now meets the six GA requirements. Congratulations, and thanks for your hard work. GaryColemanFan (talk) 16:27, 5 November 2008 (UTC)

Crispy and Company has been credited as a 1978 act. However an act with a similar name released two singles on Creole Records in July resp. November 1975, namely:

Brazil b/w Love can (UK: Creole Records CRE 109, France: Kedzie Records 75 021, Germany: Polydor 2041 686), resp.:
Get it together b/w Down in St. Tropez (UK: Creole Records CRE 114, Netherlands: Negram NG 698 - France: b/w Sunara RCA BBZ 3006 (apparently Sunara, an old Fela Kuti song, was the A-side in France, as the title is the only one mentioned on the record sleeve) 
To find out if these releases would actually have been originated from the Lafayette Afro Rock Band I stumbled upon a recording of A.I.E. (a mwana) (which was a huge hit by Black Blood across much of continental Europe during 1975), which has a similar sound as the Crispy & Company's version of Brazil.
Also I stumbled upon the list of releases on Creole Records, which also consists of one by Fela Kuti, an artist the Lafayette Afro Rock Band has been credited to before.
However I also found out in 1975 the Lafayette Afro Rock Band contibuted to an LP by various artists Tonight at the discotheque, playing under various moniker names, like Krispie & Company, Ice, Captain Dax, Les Atlantes (not sure), which has been released in France, Belgium, Germany and Canada on different record labels.   
So for me it is very obvious Crispy (or Krispie) & Company (or Compagny) are just the same band as the Lafayette Afro Rock Band, and the band did indeed release those two singles which hit the UK Top 40, at No. 26 resp. No. 21.
Adding to these evidences is the release of an LP Funky Flavored (Creole Records CRLP 505) in most probably 1976.   This LP contains both UK singles releases, the A as well as the B-sides. Some new tracks are added. All group members of the Lafayette Afro Rock Band have been listed as Crispy & Co.'s, however instead of its regular producer Pierre Jaubert an I.H.P. has been named producer, which usually stands for "In House Production". Which raises some doubts about the authenticity of these recordings, if you look at an affair Creole Records went through at that same time, namely the M & O Band's infringement on Eddie Drennon's copyright on the instrumental trackings of Let's do the Latin hustle which were just copied. However such a story is not known about Crispy & Co. A more convincing explanation is that by using I.H.P. Creole Records could presume the record has been homegrown produced, in a turn to confuse British record industry and mass media rules being dictated at that time by trade unionists telling to stick to British products, causing such measures as a BBC orchestra playing backing tracks on Top Of The Pops, unless the foreign artists could play them themselves.
Under another art-name, Ice, two of the tracks of this album, A.I.E. (a mwana) b/w Super Queen appeared on a single in 1975: France: Kedzie Records 75017, Germany: Polydor 2040 142, while on the Tonight at the Discotheque album these tracks were credited to Wall of Steel. Confusion seems to be a goal in itself of the Lafayette Afro Rock Band?
Pierre Jaubert took Super Queen in 1980 to USA disco singer Beckie Bell.
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SporkBot (talk) 10:38, 6 March 2018 (UTC)