In Praise of "Mami Wata"

For many months now I've put off posting this in an effort to find out more about our featured artist, Bob Sir Merenge. Unfortunately, I can't say I've found out much. I can tell you that he is one of innumerable traditional Igbo musicians who have released recordings, sometimes to great acclaim, sometimes without making any ripples at all. I would say that Merenge's efforts have not gone totally unnoticed (I have a couple more records by him) but haven't drawn much attention outside of a small area of eastern Nigeria (and the Igbo diaspora, of course).

The second thing I can tell you about Bob Sir Merenge is that he is from the town of Uli in southern Anambra State. Uli is a fairly nondescript down on the Onitsha-Owerri Highway, but during the Biafran War (1967-70) the airstrip at Uli was literally a lifeline for the embattled rebel enclave, all sea access to the nascent Biafran republic having been lost early on (the map is from John de St. Jorre's The Nigerian Civil War [Hodder & Stoughton, 1972]):

Anyway, Bob Sir Merenge's album Eze Nwanyi (Okoli Music Co. OFC 4) is about as representative and fine an example of Igbo traditional music as you'll find (in the near future I'll be posting Show Promoter's LP Azu Alala, which is also an excellent example of the genre).

Eze Nwanyi begins with an elegy entitled "Ugbo Ezeh," "The Chief's Lorry." It tells the tale of Asampete, who was married for 20 years but was unable to conceive - the couple had money but no child. When she finally got pregnant Asampete was the object of cruel gossip by the villagers, who whispered that she was either sick or had slept with another man. When she finally gave birth to a daughter, her husband was very disappointed and beat Asampete. Finally she took her daughter and went to live with her mother.

Asampete's daughter grew up to be very beautiful, but one day the villagers came running to inform Asampete that she had been struck and killed by one of the fleet of trucks owned by the village chief. The chief told her to wait until the lorries came back from Asaba to see which one killed her daughter. Asampete wailed that she had no husband and now had no daughter. She went with a rope to the tree to hang herself but one of the villages stopped her. Asampete asked God how He could let this happen:

Bob Sir Merenge & his Igbo Cultural Singers - Ugbo Ezeh

I wouldn't be surprised if "Ugbo Ezeh" was based on a true story, as are many songs of this type. The song, along with the others on Eze Nwanyi, also ably displays the various instruments in the arsenal of Igbo music: the opi (horn), the ogene (twin bell), udu (pottery drum), ekwe (slit drum), ashakala (beaded gourd), and samba (square drum).

"Ude Ndi Egwu" also concerns people who wish to become parents. A woman is praying to God to give her a child while she is still young. The singer expresses that while many wish for children, those who already have them often complain of the trouble they bring:

Bob Sir Merenge & his Igbo Cultural Singers - Ude Ndi Egwu

The title track, "Eze Nwanye," relates the "Mami Wata" legend, which, in different forms, can be found throughout Africa and the diaspora. The invocation at the beginning of the song states, "Ekene kene eze nwanyi," "Greetings to the Queen, our mother, the mother of the waters." The song further asks for her divine protection: "Great praise to the Queen, the one who lives in the ocean, the most beautiful, the lady of all ladies, we are asking for your protection sailing on oshimiri (the deep sea). When you bless us we will have a good life."

The choruses, "Onye o gaziri orie" and "Uwa e, uwa bu ogaziere onye orie" mean, respectively, "Whoever gets the blessing enjoys life" and "If you are blessed you will enjoy this world."

Bob Sir Merenge & his Igbo Cultural Singers - Eze Nwanyi

"Onwu Bu Onye Ilo" ("Death is the Enemy in this World") is a standard praise song, a tribute to those who have passed on. At the beginning a man is crying, and his comrades console him, saying "Uwa anyi no aburo nbe anyi," "This world is not our home." The singer recites the names of the fallen, preceded by the phrase "Onwu gburu ogaranya" ("Death killed a great man") and followed by the chorus "Amaghi m onye irom" ("I don't know my enemy"):

Bob Sir Merenge & his Igbo Cultural Singers - Onwu Bu Onye Ilo

Download Eze Nwanyi as a zipped file here. Many thanks to my wife Priscilla for interpreting these songs.

Adventures in Angularity

I hate to say this, but it's been ages since Ebenezer Obey has waxed anything worth listening to. For the last twenty years he's been devoting himself to spreading the Gospel, only occasionally setting foot in a studio to record something of a religious nature. Not that I'm putting that sort of thing down, of course. It's just that I miss the days when the Chief Commander was on the cutting edge of jùjú music, notably with a series of LPs in the early '80s that combined deep Yoruba roots music and funky R&B influences.

I'm going to post the 1980 LP Current Affairs here (Decca DWAPS 488, released in the UK as Oti OTI 488), not because it's my favorite of these recordings (that honor goes to Eyi Yato, also released in 1980, which I'll probably make available in the future) but because more than any other record it displays the brilliant blend of Yoruba harmonies, off-beat blue notes and discordant, "angular" sounds that defines the '80s Obey style. As an illustration of what I mean, check out the passage in "Oba Sijuade" that begins at the 6:35 mark:

Chief Commander Ebenezer Obey & his Inter-Reformers Band - Oba Sijuade

"Oba Sijuade" comemmorates the coronation in 1980 of Alayeluwa Oba Okunade Sijuwade as the Ooni of Ifè, one of the foremost traditional leaders of the Yoruba people. Legend has it that at the site of the present-day city of Ile-Ifè the supreme being Olódùmarè directed the creation of the world. The god Obàtálá created human beings out of clay, while the god Oduduwa became the first leader of the Yoruba nation. It is said that all of the succeeding Oonis are direct descendents of Oduduwa. In his 1969 release On the Town (Decca WAPS 28), Obey also paid tribute to then-prince Sijuade.

The great Ibadan Flood Disaster of 1980, in which the Ogunpa River overflowed, killing at least 100 people and laying a good part of the city waste, is commemorated on side 2 of Current Affairs. It is ironic that on August 26 of this year, five days short of the 31st anniversary of that calamity, and despite many years of attempts to channelize the Ogunpa, the river overwhelmed its banks again, exacting a similar toll in lives and property:

Chief Commander Ebenezer Obey & his Inter-Reformers Band - Ogunpa Flood Disaster

Download Current Affairs as a zipped file here. In the course of researching this post, I was saddened to read of the death on August 23 of Juliana Olaide Obey-Fabiyi, Ebenezer Obey's wife of 48 years. I'm sure everyone reading this will join me in offering Mr. Obey their deepest condolences.

A Heads Up

Kudos to Siemon Allen at the always-worthwhile Electric Jive blog for Miriam Makeba - Tracks Less Travelled (1958-98), a fascinating overview of the work of the great South African diva. There are plenty of audio rarities here and lots of little-known facts. Altogether a must-read and must-listen, and highly recommended!

Smooth as Butter

Congo music doesn't get much smoother and more elegant than Bumba Massa's 1982 outing L'Argent et la Femme (Star Musique SMP6017), recorded in Togo with the participation of Bopol Mansiamina, Syran Mbenza and Lokassa ya Mbongo, among others. When I posted Bumba's 1983 LP Dovi earlier this year, I promised this one would be coming your way also. Enjoy!

Bumba Massa - L'Argent et la Femme

Bumba Massa - Africa Music

Bumba Massa - Confession

Bumba Massa - Mbanda Akoma Television

Download L'Argent et la Femme as a zipped file here.

Cameroon Fever Vol. 1

Ken Abrams does it again with Cameroon Fever Vol. 1, a tasty collection of tracks from that country, mostly from the golden '80s, when Makossa, Makassy, Tchamassi and Bikutsi ruled.

A few notes about some of the artists here: Besides being a prolific artist in his own right, Isidore Tamwo in the '80s was the producer of Sam Fan Thomas, who achieved world fame with his smash "African Typic Collection," among others. Andre-Marie Tala popularized the Tchamassi rhythm and won a court case against James Brown for plagiarizing his hit "Hot Koki." Betuel Enola is better known as a backup singer for the likes of Manu Dibango and Lapiro de Mbanga, but she did make at least one solo recording, Propriete Privée, from which the song "Oa" is taken. The Golden Sounds, led by Jean Paul Zé Bella, are arguably one of the most influential African groups of all time, thanks to their 1986 smash "Zangalewa," better known as "Waka Waka," whose serpentine history is discussed by Uchenna Ikonne here.

Johnny Tezano acheived fame in the '80s with a synthesis of Camerounian and Congolese music that he called Ma-kwassa, while Ebanda Manfred is best known as the author of the song "Ami," made famous by Bebe Manga (and which you can download here). Jean Bikoko Aladin, who passed away last year, was one of the founders of modern Camerounian music, who popularized the Assiko style in the early '60s.

1. Emancipée Mariama - Isidore Tamwo

2. Celle Qui T'A Aime - Andre-Marie Tala

3. Oa - Betuel Enola

4. Maladie Difficile - Golden Sounds

5. Bobe Na Bongo - Cella Stella

6. S.O.S Mon Coeur - Marcel Tjahe

7. Balong - Maurice Njoume

8. Carreau Magique - Johnny Tezano

9. Baby Na Mamy Na - Ebanda Manfred

10. Humanisme African - Tonye Jackson

11. A Yiga Tchome - Jean Bikoko Aladin Et L'Assiko Rigueur

12. Pane Pane - Georges Seba

13. Mengabo Wo Dze - Alao Javis

Download Cameroon Fever Vol. 1 here. And explore Ken Abrams's artwork here.

From the Banks of the Oubangui River

The music of the Central African Republic is little-known. There are some excellent recordings of traditional music on the Ocora label (Empire Centrafricain: Musique Gbáyá/Chants à Penser [558 524, 1977] is a standout), but its "modern" artists are often overlooked in favor of those of the CAR's neighbors, Cameroun and the two Congos.

Some may have wondered if there is a serious music "scene" in the CAR at all, but as recounted in a fascinating post in Matt Lavoie's African Music Treasures blog, indeed there has been since 1954, when Prosper Mayélé founded Tropical Jazz, which became the house band at Bangui's Le Rex club. As is the tendency in African music, Tropical Jazz spawned splits and sub-splits, giving rise to Orchestre Centraficain, Vibro Jazz and Tropical Fiesta. A group called Zokela, founded in 1981, in 1999 split into four different Zokela permutations. For samples of music from several of the groups I've mentioned, I would refer you to Matt's well-researched article.

It has not been my practice to post more recent, commercially-available recordings on Likembe, but as it apparently has long been out of print, I am making available here RCA: Centrafrica Compil (Déclic 50 608, 1997), which is a pretty good overview of the Central African music scene, at least as it existed in the late '90s. I regret that I can't give you any information about the musicians. As you might expect, the sound owes a lot to Congo music, but there are plenty of uniquely Central African touches (take note especially of Francis Gon's "Caresse de Î Les"). Enjoy!

Musiki - Magalina

Super Stars - Molamogui

Melo Divine - Géné

Mobanza Ley - Troumba Lô

Jezu Lokota - Mama Ateka

Ouaka Stars - Ma Yvonna

Mayele - Wo Ti Mo Bè Mo

Canon Star - M.P.S.

Petit Tchadien - Pauvreté

Centro Mix - Sanza Nostalgie

Zokela - Injection

Francis Gon - Caresse des Î Les

Africa Musica - Tout Se Paye Ici Bas

Download RCA: Centrafrica Compil as a zipped file here. I suspect that some of the tracks on this CD were mislabeled. If someone has information about the correct track-listing, let me know and I'll make a correction.

Enjoy this video by Canon Star, one of the groups featured on Centrafrica Compil:

l'ANPAC Presente Vol. 3

Some sweet sounds conclude our presentation of the three-volume series l'ANPAC Presente with Volume 3 (AN 400 3, 1984). Like musicians on Volumes One and Two, Pierre Claver Zeng Ebome, who performs "Eyala," has been active in Gabonese politics for many years, holding various posts in the government of President Omar Bongo as well as being elected to Parliament. Norbert Epandja, who gives us the lovely "N'oublie Jamais," has been involved in politics of a different sort, as president of the Musicians' Union of Gabon. I can tell you nothing about the other talented musicians here. Enjoy l'ANPAC Presente Vol. 3!

Pierre-Claver Zeng Ebome - Eyala

Angèle Revignet - Iyanoayile

Santo Backita - Idja

Julien Nziengui Mouelle - Julien Mwana

Norbert Epandja - N'oublie Jamais

Download l'ANPAC Presente Vol. 3 as a zipped file here.

l'ANPAC Presente Vol. 2

Back in the '80s the three volume collection of Gabonese music l'ANPAC Presente was frequently on our turntable and, dubbed onto C90 cassettes, our auto sound system. Continuing Likembe's presentation of this interesting series, l'ANPAC Presente Vol. 2 (ANPAC AN 400 2, 1984) features a couple of songs that are among our all-time favorites.

Mack Joss is the only musician here known to me, and all I can tell you is that he's been on the Gabonese music scene for a while - at least since the 1970s. "Mounombi" here is a really nice adaptation of Gabonese folklore, as is "Motobetheyi," performed by Pierre Emboni, who in addition to his musical efforts, was a leader of one of Gabon's political parties and Minister of Youth and Sports in the late '90s. "Souviens Toi" by Yvon Dawens is a nice song in the Congo-Cameroun musical continuum, but the real standout of this LP is Obiang Okane's "Dokira," which incorporates the mvet, a traditional musical instrument of the Fang people of Gabon, Equatorial Guinea and southern Cameroun. I hope you'll enjoy l'ANPAC Presente Vol. 2 as much as I do:

Mack Joss - Mounombi

Pierre Emboni - Motobetheyi

Yvon Dawens - Souviens Toi

Obiang Okane - Dokira

Download l'ANPAC Presente Vol. 2 as a zipped file here. For those interested in learning more about the mvet, featured in "Dokira," I would recommend Francis Bebey's magisterial African Music: A People's Art (Lawrence Hill & Co., 1975), and also the LP Gabon: Chantres du Quotidien/Chantres de l'Epopee (Ocora 558 515, 1981). The mvet plays a role in traditional Fang society very similar to that of the kora among the Mandinka peoples of West Africa, as an accompaniment to epic ballads, the performance of which is said to last all night. From Gabon: Chantres du Quotidien/Chantres de l'Epopee, here is an extract from one of those performances, performed by Akwé Obiang (pictured below):

Akwé Obiang - Chant Épique du Mvet (Fragment)

l'ANPAC Presente: Vol. 1

The small country of Gabon has never loomed large in the African music scene, although artists like Pierre Akendengue and Oliver N'goma have certainly made their mark. Back in the 1980s, though, the Libreville radio station Africa No. 1 and its powerful signal ruled the African airwaves, and along with Gabon's first modern recording studio, Mademba, founded around the same time, brought increased attention to musicians from the country.

Africa No. 1 was the inspiration of Gabonese President-for-life Omar Bongo, who apparently sought to use his country's oil wealth to raise its prestige in the world. Another Bongo initiative, l'Agence National de Promotion Artistique et Culturelle (ANPAC), in 1984 issued a three-volume series of recordings, l'ANPAC Presente, showcasing a number of popular musicians of the decade.

I can't tell you much about the musicians on Vol. 1 (ANPAC AN 400 1), presented here, or on Vols. 2 and 3, which will follow shortly. Hilarion Nguema, the best known of these, founded Orchestre Afro-Success in the early '80s and scored a number of hits, notably 1988's Crise Economique. The Wikipedia entry for Jean-Boniface Assélé describes a politician and brother-in-law of Omar Bongo, but makes no mention of a musical career, which leads me to question if they are indeed the same person (see update below). The other artists draw a complete blank on Google.

I think you will agree with me that these mellow sounds have congruences with the music of Congo and Cameroun, with some unique local touches. Enjoy!

Hilarion Nguema - Collé, Collé

Marcel Djabioh - Mwa Nkala

Jean-Boniface Asssélé - Joie de Vivre

Itsiembu Bi-Mbin - Monde Nouveau

Jo-Man Anguilet - Iwengi Sono

Download l'ANPAC Presente Vol. 1 as a zipped file here. There's an interesting coda to the story of Africa No. 1. The radio station left the airwaves for a number of weeks earlier this year, apparently a result of the political crisis and civil war in Libya. Libyan Jamahiriya Broadcasting was a 52% shareholder, and when Libya's assets were frozen, the station was unable to pay its bills. You can read the story here and here.

My apologies for Likembe's three-month hiatus, by the way. A lot of personal issues intervened, but I hope to keep things going on a more regular basis from now on.

Update: Thanks to commenter Peter for confirming that the Jean-Boniface Assélé of this LP and the one described in Wikipedia are indeed one and the same.

Congo Memories with Bumba Massa

Best-known for his work with the super-group Kékélé and last year's release Apostolo, the honey-voiced Bumba Massa is one of the great unsung heroes of '80s Congo/Zaïre music. Born in Kinshasa in 1945, in 1963 he founded Orchestre Cubana Jazz with Empopo Loway and Siongo Bavon Marie-Marie, the younger brother of Luambo Makiadi Franco. He then progressed to work alongside Johnny Bokelo in Conga '68 and with Vicky Longomba in Lovy du Zaïre, before joining Franco's TPOK Jazz in 1976.

Bumba Massa launched his career as a solo artist in 1978 with a tour of West Africa, ending with the release in 1981 of Gare à Toi Mon Ami in Ivory Coast. Despite a number of outstanding releases like l'Argent et la Femme and Dovi in subequent years, Massa was unable to really "break through" on the international scene (l'Argent et la Femme did receive some limited distribution by Brooklyn's African Record Centre) until 2001, when Kékélé's first recording Rumba Congo (Sterns STCD 1093) brought the sounds of classic Congo music to a new generation.

Listen to Bumba Massa's brilliant 1983 outing Dovi (Syllart SYL 8306) and understand why I consider the 1980s the last "Golden Age" of Congolese music. Recorded in Paris under the direction of the great producer Ibrahima Sylla, and with the participation of outstanding sidemen like Pablo Lubadika Porthos and Syran Mbenza, it stands as a pinnacle of the sound: smooth, seemingly effortless and sublime. If you like this one, in the future I will post 1982's l'Argent et la Femme, which is almost as good.

Bumba Massa - Sous-Marin

Bumba Massa - Dovi

Bumba Massa - Mariage Intermédiaire

Bumba Massa - Père Bouchez

Download Dovi as a zipped file here.

Happier Days

Back with a reminder of much, much happier days in Somalia, our good friend Sanaag passes on almost 80 minutes worth of music by the legendary Afro-funk band Dur Dur, who were among the most popular groups in Mogadishu back in the '80s. You may remember them from this post, and this one. I understand that after the collapse of Somalia in 1991, vocalist Sahra Dawo and other "newer" members of the group relocated to Columbus, Ohio, USA, where they have a presence on Facebook. Sanaag reports that the other members of the "old guard" featured here are scattered all over the world, except Muktar "Idi" Ramadan who unfortunately passed away a few months ago in Saudi Arabia.

As usual for Somali recordings of this vintage, the audio quality of these songs is not up to modern standards, but I'm sure you'll agree that their musical and historical qualities more than compensate. Here's what Sanaag has to say about them:

Durdur's songs are almost always drenched in love. To the best of my knowledge, they didn't address social or political issues during the military dictatorship and that's why their lyrics didn't make a lasting impression on me or flare up my interest in the band; hence my sketchy knowledge about their work and background. I was really delighted with the post-Siad Barre cassette Andreas posted at Kezira, in which they've several socially engaged tracks.

These songs are mainly in southern vernacular languages. I hail from about 1100 kms further up North and, though I understand the basics fairly well, I don't have the required baggage to fathom the linguistic and literary subtleties inherent to these dialects. Neither can I contextualize the songs since I don't know if, as was common during the military dictatorship, some of the songs were meant as protest double entendres, were adopted as such by the general public, if events were associated with them etc. That's why I'd rather not venture into summarizing, let alone publicly interpreting, the lyrics. Nevertheless, all the songs are conspicuously about love and I've tried to translate the tracktitles. Corrections are, of course, most welcome!

The following six songs are from the soundtrack of "Rafaad iyo Raaxo" ("Misfortune and Comfort"), a 1986 tragicomedy that was also filmed a couple of years later. "Duruuf Maa Laygu Diidee" means "Rejected Due to My Circumstances." The vocals are by Muktar "Idi" Ramadan:

Dur Dur - Duruuf Maa Laygu Diidee

In this song vocalist Shimaali Axmed Shimaali pleads, "Oh, Saafi! I Won't let You Go" (Saafi is a female name):

Dur Dur - Saafiyeey Makaa Samraayee!

"Waanada Waxtarkayga Waaye" means "This Advice Does me Good/I'm Well Advised." Vocals by Cabdullaahi Shariif Baastow & Maryan Naasir:

Dur Dur - Waanada Waxtarkayga Waaye

"Muraadkay Waa Hellee" means "We've Reached Our Goal." Vocals by Muktar "Idi" Ramadan & Sahra Dawo:

Dur Dur - Muraadkay Waa Helee

"Ma Hurdee" ("I Can't Sleep"). Vocals by Sahra Dawo & Muktar "Idi" Ramadan:

Dur Dur - Ma Hurdee

"Rafaad iyo Raaxo" ("Misfortune & Comfort"). Vocals by Sahra Dawo & Muktar "Idi"Ramadan:

Dur Dur - Rafaad iyo Raaxo

These next songs are from two tapes without album or song titles. The track names are thus the popular titles under which the songs were dubbed by the public (see the post on Iftin). "Waxan Sugi Ma Helayaa?" ("Shall I Get What I'm Waiting For?") is also known as "Saqda Dhexe Riyadiyo Sariir Maran" ("Midnight Dream in an Empty Bed"). Vocals by Sahra Dawo:

Dur Dur - Waxan Sugi Ma Helayaa?

"Shaacaan Ka Qaadaa" ("I'm Revealing all of it") is also known as "Shallay Ma Roonee" ("Remorse Is Pointless"). Vocals by Sahra Dawo & Cabdullaahi Shariif Baastow:

Dur Dur - Shaacaan Ka Qaadaa

"Rag Kaleeto Maa Kuu Riyaaqayee?" ("Are Other Men Admiring You?"), aka "Reerkaagaa Joogee" ("Stay With Your Family"). Vocals by Cabdullaahi Shariif Baastow:

Dur Dur - Rag Kaleeto Maa Kuu Riyaaqayee?

Cilmi Ismaaciil Liibaan (better known as Boodhari) is the main protagonist in a true love story that took place in in the 1930s in Berbera, a town in the current Somaliland. He was in his thirties when he fell head over heels in love with Hodon, a teenage girl whose parents were opposed to a relationship between the two due to the difference in age and social class; he worked in a bakery and she belonged to one of the richest families in the area. Hugely burdened and dismayed by the unrequited love, Boodhari composed numerous poems and songs about this forbidden love. Hodon eventually got married to another man and, though this is not corroborated by watertight evidence, Boodhari became so disconsolate that he finally committed suicide. It's not established beyond doubt that all the poems and songs attributed to Boodhari were indeed written by him, but his legend and compositions have certainly been part and parcel of Somali love stories ever since. The song "Boodhari Sidiisii" ("In Boodhari's Footsteps") is also known as "Maruun ii Bishaarey!" ("Surprise Me Once With Good News!"). The vocals are by Cabdullaahi Shariif Baastow:

Dur Dur - Boodhari Sidiisii

"Doobnimaadey Maka Dogoownee" ("Getting Old Single") is also known as "Dersi Anaa Lahaa" ("I Need A Lesson [In Love]"). Vocals by Sahra Dawo:

Dur Dur - Doobnimaadey Maka Dogoownee

"Oh, Angelic Beauty!" Vocals by Cabdullaahi Shariif Baastow:

Dur Dur - Ilwaad Quruxeey!

The title of this song means "A Joking Madman." Vocals by Cabdullaahi Shariif Baastow & Sahra Dawo:

Dur Dur - Jaajuumoow Jees

"Waxla Aaminaan Jirin" ("Nobody To Confide In/NothingTo Trust"), aka "Is Yeelyeel" ("Simulation, Pretense"). Vocals by Sahra Dawo:

Dur Dur - Waxla Aaminaan Jirin

Download these songs as a zipped file here.

Lapiro de Mbanga Freed!

By way of Makossa Original and Freemuse we receive the happy news that Camerounian musician Lapiro de Mbanga was freed April 8 after three years of harsh imprisonment.

Lapiro was arrested following riots in 2008 against the high cost of living and constitutional changes that made Cameroun's kleptocratic president Paul Biya eligible to run for re-election indefinitely. He ran unsuccessfully in local elections on the opposition Social Democratic Front slate in 2006 but the precipitating event for his arrest and sentence seems to have been his song "Constitution Constipeé," a critique of the Biya regime that became the unofficial anthem of the protests.

The past three years have seen an international campaign on behalf of Lapiro, which apparently fell on deaf ears. He served every day of his sentence.

Join me in celebrating the release of Lapiro De Mbanga with his wonderful album Ndinga Man (Energy Productions NE 5003), which was released in the late '80s:

Lapiro de Mbanga - Mimba Wi

Lapiro de Mbanga - Mi Nding Mi Bè

Lapiro de Mbanga - Foua

Lapiro de Mbanga - Fôguô ma Wô

Download Ndinga Man as a zipped file here, and enjoy this video, "Everybody to Kondengui Prison," about which Dibussi Tande says, ". . .In this fiery and no-holds-barred song released last year [2007], Lapiro lashes out against the symbols of decay in today's Cameroun: A regime in power which has turned its back on all the nationalist slogans of the early years; generalized corruption that has affected every stratum of society ; an insolent and arrogant ruling elite brazenly parading symbols of ostentatious consumption (vulgar SUVs out of place on Cameroon's roads, huge castles amidst appalling squalor, some shown in the video). . .":

African Divas Vol. 4

Once again I'm forced to apologize for the infrequency of my posts lately. As usual, I have several projects in the hopper, but all kinds of personal business has intervened to prevent me from finishing them.

Fortunately, what should come over the transom but a fine new compilation by our friend Ken Abrams, who was responsible for a couple of installments in the fondly remembered African Serenades series a few years back. Ken calls this collection of tracks by female artists "African Woman is Boss" (a play on a calypso, "Woman is Boss") but with his permission I'm rechristening it African Divas Vol. 4, since I've been wanting to put together another installment in that series for some time.

Mostly off the World Music™ radar, these chanteuses are testimony to the talent and artistry of Africa's female singers. Enjoy!

1. Deka - Ade Liz (Cote d'Ivoire)

2. Fide (Le Repos) - N. Lauretta (Cameroun)

3. Mumi We Njo - Cella Stella (Benin)

4. Je Caime Larsey - Lady Talata (Ghana)

5. Oa - Betuel Enola (Cameroun)

6. Time - Sissy Dipoko (Cameroun)

7. Shameributi - Oyana Efiem Pelagie & Soukous Stars (Gabon)

8. Komeka Te - Pembey Sheiro (Congo)

9. Mu Mengu - Itsiembu-y-Mbin (Cameroun)

10. Mbo Ya? - Lolo (Cameroun)

11. Gbaunkalay - Afro National (Sierra Leone)

12. Gnon Sanhon - Rose Ba (Togo)

13. Djombo - Hadja Soumano (Mali)

14. Kanyama - Amayenge (Zambia)

15. Mesa Ko Noviwo O - Okyeame Kwame Bediako & his Messengers (Ghana)

16. Mede Yta - Yta Jourias (Togo)

17. Play Play - Wulomei (Ghana)

Download African Divas Vol 4 here (and you can get Vol. 1 here, Vol. 2 here, and Vol. 3 here). Be advised also that in addition to his musical interests, Ken Abrams is a talented artist. Check out his work here.

More From the Ministry of Information and National Guidance

Note: This post was updated with better-quality rips of the original vinyl on July 26, 2012.

Our good friend Sanaag comes through once again with Famous Songs: Hits of the New Era (Radio Mogadishu SBSLP-102, 1973), Volume Three in the series that began with Somalia Sings Songs of the New Era, one of Likembe's most popular recent posts.

These records were issued under the aegis of the Somali Ministry of Information and National Guidance to rally support for the military government of Mohammad Siad Barre, which in the early '70s had "socialist" pretensions. For all their propagandistic aspects, it would be a mistake to dismiss their musical qualities. Waaberi, the Somali super-group featured on Somalia Sings and Famous Songs, pre-dated the 1969 military coup and was a training ground for many great singers, including Xaliimo Khaliif Magool, Maryam Mursal and Sahra Axmed. Moreover, some of Somalia's greatest poets and songwriters, in a burst of revolutionary enthusiasm, contributed to this project. Like Somalia's "revolutionary socialism," this support was destined not to last.

By the way, diligent readers/listeners may be interested in this blog post (also brought to my attention by Sanaag). As far as I can understand what this fellow is trying to say, he's drawing a parallel between Siad Barre's dictatorship in Somalia and the current U.S. Administration. Or something like that. Although his logic seems a little convoluted to me, I'm glad he appreciates what we're offering here at Likembe.

Heres is Sanaag's take on Famous Songs: Hits of the New Era:

A couple of the songs are in the same vein as in Somalia Sings Songs of the New Era but there are notable differences. I'll try to provide some context while commenting on the tracks.

"Aabbe Siyaad" ("Father Siyaad") is sung by Ubaxa Kacaanka ("The Revolutionary Flowers"), destitute and often orphaned children raised in government-sponsored centres. In this song, they are deploring the hardships they and the whole nation had to endure before that period. They're also expressing their gratitude and loyalty to their adoptive father, i.e. Siad Barre, for the "striking structural changes overall" and particularly for "the light he brought into their lives". Although caring for these children was an excellent deed, the flipside of the medal was that they were horribly indoctrinated to the extent that some eventually had to spy on their families and friends. I'm not familiar with composer Cabdikariin Faarax and I couldn't find anything about him.

Waaberi & Ubaxa Kacaanka - Aabbe Siyaad

"Itaageer Allahayow" ("God, Stand by Me!"): Composer Maxamed Cali Kaariye (left) was a fertile songwriter and playwright. He's arguably the king of the love genre of his generation. In this track, he's exhibiting his admiration for the initial achievements of the military regime while putting the emphasis on the necessity for each Somali to support the revolution by contributing his/her best to the development of the whole society. In short: One for all, all for one and god/the revolution for us all. N.B. The title is probably wrongly printed. "Itaageer Allahayow" was another love hit from the same period sung by Mooge. If my memory doesn't fail me, this track is called "U Bogaadinee Allhayow!" ("By God, We Congratulate Them!").

Waaberi & Students - Itaageer Allahayow

"Magac U Yaal" ("Pronoun"): The composer is Maxamud Cabdullahi Ciise ("Sangub," right) who, despite his immense contribution to Somalia's contemporary poetry and prose, fell from popular grace by allegedly supporting the dictatorship till the bitter end. The track is dealing with the widespread joy that came with the official standardization of the Somali language in 1972. Somali is an agglutinative language with a rather complex grammar.This song introduces a number of ingenious and dexterous tricks to the trade of remembering and applying the new grammatical rules correctly.
Prior to the formalization, a score of scripts existed for the language - some for centuries. The discussions, overheated debates and tug-of-wars around this issue started in the late 19th century but couldn't materialize because of differences in interest and allegiance. For practical convenience, an 'independent' advisory committee set up right after the independence finally chose one of the Latin-based alphabets. That decree didn't go down well with some of the supporters of the original Somali scripts or Arabic-based alphabets. The ensuing conflict had eventually led to the imprisonment of some cacophonous antagonists, who were supposedly offered to set an example for any prospective dissonance:

Waaberi - Magac U Yaal

"Tolweynaha Hantiwadaagga Ah" ("The Socialist Community") is in spirit comparable to "The Internationale" and calls for justice and equality by and for all humans, as well as solidarity among the working classes.

I couldn't find when exactly the song was written but I believe it predates the coup d'état of 1969. The composer, Abdi Muhumud Amin (left), was a genuine socialist and a quintessential patriot who firmly believed that the Government should use its authority and resources justly, and primarily to empower the poor, the powerless and the voiceless silent majority. In addition to the general indignation towards the egregious crimes committed by the regime, his longstanding personal commitment to high morality was probably why he was extremely offended by Siad Barre. The latter abused socialism and other ideologies merely to deceitfully contrast himself with the preceding corrupt and loathed authorities, therefore hoping to bolster his power base.

Under the illusion that Barre and his minions embraced socialism, Abdi initially composed revolutionary songs for which he later publicly apologized and even nullified by composing new songs with exactly the opposite meaning. For example, "Caynaanka Hay" ("Hold the Bridle/Lead Us") on the album you've already posted became "Caynaanka Daa" ("Let the Bridle Go/Resign"). His scorching criticism of the system and personal attacks on Barre became subsequently legendary material. It culminated in the staging of his play "Muufo mise Laankruusar" ("Dry Bread versus Landcruisers") opposing goatee-sporting, Gucci-dressed and SUV-driving elites to the common man and woman, some of whom couldn't even afford a dry bread. It's widely believed this was one of the plays that incited the people to rise up against the tyranny, hence precipitating the downfall of the dictatorship. It would amount to a miracle if this drama was approved by the omnipresent Censorship Board. It's more plausible the artists circumvented the long claws of the bureaucratic red tape by presenting a different play or programme for the customary preemptive inspections.

The play premiered on 1st May 1979, in the presence of the plenary upper echelons of the government and the top brass of the army. As the theme of the production was crystal clear right from the very first sentences, some of the disconcerted and vexed all-loyalist spectators jumped up immediately to interrupt the performance. It's alleged that the splendid conductor Barre faced the audience and mockingly rebutted with: "Let them have their moment of glory and make us laugh. Nobody here agrees with them, anyway, and we shouldn't spoil this festive Labour Day". Maestro, let the festivities begin! Or not? Well, Barre's honourable admonition and solemn vow, for which he's rewarded with the single standing ovation of that fateful night, vanished like vapour. Abdi and most of the artists were arrested on the stage (long) before the curtains fell. The celebration was thus metamorphosed into a tragedy, with a brilliant final chord: An original method to preserve a night for the posterity saw the daylight! (Note: See update below).

Waaberi - Tolweynaha Hantiwadaagga Ah

"Beletweyne Pts 1 & 2": This is an epic about a love at first sight. The singer catches a glimpse of a stunning beauty queen in Beletweyne, a city in south-central Somalia. It was during a short working visit "in the prosperous, blithe, rapturous, golden days" and he instantly falls in love with her. Their paths cross each other once more and they exchange very brief but amorously charged amenities. Unfortunately, the "cursed, insensitive leader of the group" decides they'd be leaving on the very same day and his appeals and pretexts were not heeded. The story ends dramatically as our Cupido's profound yearnings remained (involuntarily) unrequited. In fact, he never sets eyes on the obscure object of his desires again and he's still looking for his Beerlula (a nickname meaning "bellydancer", symbol of freedom and freedom of expression). He "now realizes, like Boodhari (Somalia's Romeo) did ages ago, that love can be an incurable disease, a dagger in your heart and liver, a reason to commit suicide. . ."

As of mid-70s, a growing number of observers interpreted it as a depiction of the various stages of the military dictatorship - from the initial immediate infatuation, through the subsequent intense disappointment to the prediction of the final demise of the crown and the current on-going disaster. That's why it's branded with the ominous term "kacaandiid" (anti-revolutionary) and was banned from the airwaves. Ironically, the roots of this ill-chosen compound word is "kacis" (to rise up) and "diidis" (to reject). As people and language are both endowed with the capacity to remember and retaliate, it's thus only a matter of happy coincidence that those frequent prohibitions consequently and justly abetted the public appetite to rebel and to shower the forbidden fruits with more (underground) exposure and accolades. "Beletweyne" was indeed the most played song in the whole decade. It's banned from the official channels but the volume surged up in homes, cafes, buses, street corners etc. If they wanted to arrest everyone who defied the ban, they would have been obliged to transform all government offices into prisons:

Waaberi & Xasan Aadan Samatar - Beletweyne Pt. 1

Waaberi & Xasan Aadan Samatar - Beletweyne Pt. 2

As far as I know, Maxamed Ibraahim Warsamehe ("Hadraawi," left), composer of "Beletweyne," one the most famous and highly esteemed living poets and playwrights in Somalia, declined all requests to provide footnotes as to to the whys and hows behind the lyrics. However, he's well known for his vehement and unremitting protest against the dictatorship. He even passed more than a decade behind bars and in exile, including five years in solitary confinement in the notorious Qansax Dheere - Somalia's "Robben Island" where many dissidents were incarcerated. He left the country a few years after his release to join the Somali National Movement (SNM), the front that defeated Barre's army in the current secessionist Somaliland. He's nonetheless against the dismemberment of the country and didn't take part in any of the post-Barre political factions. Instead, he undertook many activities stressing the importance of unity and rule of law. For example, he organized an arduous "Long March for Peace" together with other bardic heavyweights belonging to all clans and regions who were joined along the way by an ever-growing number of citizens. They categorically declined to be protected by body guards, and that was tantamount to risking their lives in the face of the pervasive and undiscriminating war. Their premonition that peace couldn't strut with weapons paid off well. In (almost) all the districts they visited, the guns were briefly silenced and the marchers were welcomed with an overwhelming warmth and hospitality, as if they were long lost friends and relatives. A Somali proverb goes "Gabayaa geyi waa gubi karaa. Abwaan asay waa aasi karaa" ("A poet can set a land on fire. A poet can put an end to the mourning!") More on Hadraawi here.

Waaberi - Tolweynaha Hantiwadaagga Ah (Reprise)

Download Famous Songs: Hits of the New Era as a zipped file here. For more music like this, two songs from Volume Two in this series are available here.

Update: Sanaag writes, "Thanks to Baraxow who contacted me after this entry was posted. According to him, the play was staged again in the late 80s, at the sunset of Siad Barre's regime. It started with the following short poem, spoken in choir while pointing fingers at Siad Barre and the rest of the bigwigs:

Dalkan dadkiisii baannahayoo
Muufo maraqle baan dalbanaynaa
Laankruusarkiinna waan diidnayoo
Dacalladaan ka dalandalin doonnaa

Annagu weli* muufaan rabnaa
Muufo macaan baan rabnaa
Maraqaan ku dhuuqnaan rabnaa
Markan maqaloo yeelo miyir waasacan

We're the people of this land
We demand dry bread with sauce/soup
We reject/resent your Landcruisers
We'll throw them down a steep cliff

We still demand dry bread (or we demand dry bread from the saint)*
We demand delicious dry bread
We demand sauce/soup to imbibe/imbue it with
Listen this time and be wise and just

* The Somali word "weli" means both still and saint, a derogatory epithet for the big sinner/human rights violator Siad Barre.

Update 2: An interesting commentary on this post here.

Update 3: Liner notes available below (click to enlarge). Sanaag writes, ". . .The sleeve notes are a real gem. Just like those on the other record, they are manipulated to say what the dictatorship wants to hear and not necessarily what the artists say in the songs. In popular speech and folktales, Siad Barre's leading ideologues are called Askar (Somali for non-commissioned officers or colnoial soldiers) and they prove that majestically. The basic tenets of (Somali) culture and socialism were apparently rocket science to those so-called intellectuals and culture connoisseurs. Even the Internationale was alien to Siad's finest "socialist" experts! Hilarious! It's reminiscent of Nuruddin Farah's trilogy 'Variations on the Theme of an African Dictatorship. . .'"