Sunday, July 1, 2018
Monday, June 4, 2018
Ghanaian highlife superstar Alex Konadu, or "One Man Thousand," was the subject of a previous post here on Likembe, and the indefatigable Moos over at Global Groove has a wealth of recordings by him. Sadly, since our last visit with him Mr. Konadu passed away on January 18, 2011. A Ghanaian website had this to say about him:
....Alex Konadu was born in 1950 at Adwumakase Kese in the Kwabere No.3 District of Ashanti. Konadu started singing at an early age, and became the leader of the Kantamanto Bosco Group before moving on to the band of the well-known Kwabena Akwaboah. He honed his artistic skills there after three years moved to the Happy Brothers Band.
After two years Kwabena went 'solo' for some time, composing and practicing until he invited Mr. A.K.Brobbey -record dealer and producer- to listen to his rehearsals and he got signed and Brobbey organised a band. With their new, very uptempo guitar Highlife they had instant succes.
His ability to draw crowds wherever he went gave Konadu the appellation "One Man Thousand." Withstanding the vicissitudes of fame and fashion, and staying true to his vision of pure, unadulterated highlife music, he became an inspiration to Ghanaian musicians for years. While Konadu issued many wonderful recordings over the decades, Asaase Asa is still considered one of his most noteworthy achievements.
The 1976 album Asaase Asa (Brobisco KBL 016) was a breakthrough hit for Alex Konadu, establishing him as Ghana's foremost exponent of "roots highlife." The title song was based on a true story about Mr. Asaase Asa, who lost both his wife and sister when they were killed by a falling tree. It is dedicated to all who have lost their loved ones. Alex Konadu carved a special name for himself dedicating most of his songs in praise of the dead and his music is a must-play at any Ghanaian funerary.....Today I present an Alex Konadu record that I haven't seen on any of the other African music sites, recorded during a Canadian sojourn - 1992's Da Bi Wo Behunu (BlackSounds RTLP 003). This is classic Konadu - Ghana highlife stripped down to its propulsive, infectious essentials. Enjoy!
Alex Konadu - Da Bi Na Wo Behunu
Alex Konadu - Agya Ata Wuo Part II
Alex Konadu - Pa Pa No No
Alex Konadu - Yen Anya Aba Na Yen Ko Ye Mu
Download Da Bi Wo Behunu as a zipped file here.
Wednesday, April 25, 2018
Last month I gave you A.B. Crentsil's great 1985 LP Toronto by Night, with a promise of more sophisticated sounds from the king of '80s Ghana highlife. Well, here they are! Tantie Alaba (Earthworks/Rough Trade ERT 1004, 1984) was recorded at the Ghana Film Studios in Accra, and has more of an "organic" sound than Toronto.
Researching this series of posts devoted to Ghana music from the '80s, I've been digging through my archives, compiled back in the days before the internet, and came across issue #5 of Africa Beat magazine, published in London in Summer of 1986. It contains a most informative article, "Sweet Talking Man," about Mr. Crentsil, then on a European tour:
The dramatic plunge in the value of the Ghanaian currency, the cedi, has thrown up some stories. One of the most heartbreaking is the virtual death of the Ghanaian recording industry. The price of imported basics, like guitar strings or vinyl, has killed off virtually every full-time touring professional band. Some put the number of survivors as low as three.
One man who has survived all this and a lot more is A.B. Crentsil, the 36-year-old singer whose mid-1970s band Sweet Talks was a germinating ground for some of the strongest talents to emerge out of Ghana during the last ten years - the Sunsum Band, Eric Agyemang and Thomas Frempong among them. But the figures even he throws out so casually are terrifying. He starts off talking about how his second band the Lantics were stolen away from the Atlantic Hotel by an extra 25 cedi a month - "100 cedi a month was a lot and we were happy to go!," he chuckles. Now he talks about paying his bus driver 10,000 cedi a day, a week, a month, whatever it takes to keep him.
Even more scaring is his account of the break-up of Sweet Talks in 1979 and the court battle to get money out of the manager of the Talk of the Town Hotel who owned the band's instruments and in a lot of ways seemed to own their souls as well. "In court we heard that Phonogram had paid him 5.4 million cedis. Out of that we had seen 68,000 cedis." Needless to say there were dark doings in the background and A.B. is not a rich man - but her survives.
And away from the numbers, back to the music. Throughout the 1970s A.B. played in the best hotel bands in Ghana - first the El Dorados, performing funk, reggae and James Brown material, the usual songs known as "copyright." The there was the Lantics, again tied to a top hotel but this time getting away to record the first album, Adam & Eve [as the Sweet Talks] in 1975. They had been spotted playing in the hotel by Phonogram MD Arthur Tay who swept them off to the 16-track EMI studio in Lagos which was quite a jump from the two-track they had used for three 45s earlier.
The 75-venue tour of Ghana which followed built Sweet Talks into one of the biggest bands in the land. Throughout the string of LPs that followed - Kusum Beat, Spiritual Ohaia, Osode - it was all up and up, closer to dangerous temptations that lay in wait when Phonogram Holland took them to Los Angeles' Total Experience studio to record the best-selling Party Time [Hollywood Highlife Party]. It was then that they discovered that their manager was using their money to send a Thunderbird back to Ghana. It was when they got back they discovered they were broke, and broke up....Which brings us up to 1984, and Tantie Alaba, recorded with Mr. Crentsil's reorganized Super Sweet Talks International, and the first of his albums to receive modest international distribution. Here's a nice video someone made of the title track, utilizing footage that apparently has nothing to do with the song itself, but, I'm sure you'll agree, matches up very well indeed!
A.B. Crentsil & Super Sweet Talks International - Tantie Alaba
A.B. Crentsil & Super Sweet Talks International - Akpêtêchi Seller
A.B. Crentsil & Super Sweet Talks International - Odo
A.B. Crentsil & Super Sweet Talks International - Who is Free
Download Tantie Alaba as a zipped file here.
Friday, April 20, 2018
Augustin Kouassi is an Ivorian musician who's apparently been around the block a few times. Discogs lists a couple of LPs by his band, Les Messagers de la Paix, apparently from the '80s. Other than that, I can't say much more about him and the group. How many times have I had to say that here?
I got today's offering by them way back when it first came out, along with a raft of other cassettes from Ivory Coast, and didn't pay much attention to it then. Man, was I missing out! Mambo Attoh Théophane (Carine Musique CAR 01, 1993) is one of the most addictive recordings I've heard in a long time. Everything about it is first-rate, from Gaiten Kouao's exquiste guitar work to the outstanding vocals (different members take turns singing lead, and the chorus is tight). Of course, Congo music is an influence, and the vocals have that sweet-and-sour quality you hear in West African music from Ghana to the Niger Delta. I'm tempted to label it "Soukous-Highlife," but that just doesn't do it justice. Let the music speak for itself!
Augustin Kouassi & Les Messagers - Mambo Attoh Théophane
Augustin Kouassi & Les Messagers - Kêgbè Piemin
Augustin Kouassi & Les Messagers - Yié Koubê
Augustin Kouassi & Les Messagers - Boto Sopie
Augustin Kouassi & Les Messagers - Adja Ayo
Augustin Kouassi & Les Messagers - N'Douci Carrefour
Download Mambo Attoh Théophane as a zipped file here.
Thursday, March 29, 2018
Friday, March 9, 2018
The label also lists the language as "Yoruba/Ikale." Ikale is generally considered a dialect of Yoruba rather than a separate language, and since Ikale speakers are concentrated in Ondo State, western Nigeria, it's reasonable to surmise that Tayo Jimba is from there also. Reader/listeners are invited to tell us more.
Enjoy Ise Aje!
Tayo Jimba & his Black Shadows - Ori Mi / Oro Owo / Oro Nigeria
Download Ise Aje as a zipped file here.
Tuesday, December 19, 2017
Sir Victor Uwaifo & his Titibitis - Egwu Ọzo
Sir Victor Uwaifo & His Titibitis - Eyasodaro
Sir Victor Uwaifo & his Titibitis - Ifa Jigijigi
Sir Victor Uwaifo & his Titibitis - Yarinya
Ishie Brothers - Mafara, Kusa da Sokoto
If you're interested in exploring further the music of Victor Uwaifo, something I heartily recommend, a great place to start would be the compilation Guitar-Boy Superstar: 1970-76 (Soundway SNDWCD 012, 2008), the liner notes of which were quite helpful in writing this post.
Download Egwu-Ọzo as a zipped file here.
Friday, September 29, 2017
I've been unable to find out much about Asare Bediako, who is responsible for today's offering, the very enjoyable Lovers Hi Life (Highlife World HW 2017) from 1986. I believe, however, that he is the "Sam Asare-Bediako" who has acheived fame as a composer and arranger of Christian devotional music in his native Ghana:
Whatever. Lovers Hi Life is a pretty good example of the sort of synth and drum-machine driven "Burger Highlife" music that became popular in the 1980s. Enjoy!
Asare Bediako - Odo
Asare Bediako - Ene Wiase
Asare Bediako - Ohufor
Asare Bediako - Abena
Asare Bediako - Ohianti
Asare Bediako - Ewisia
Download Lovers Hi Life as a zipped file here.
Wednesday, September 6, 2017
Ghana's highlife great Pat Thomas has been experiencing something of a career renaissance lately. 2015 saw the release of Pat Thomas & Kwashibu Area Band (Strut STRUT126CD), his first new recording in many years, and in 2016 a 2-CD retrospective of his recordings from 1964 to 1981, Coming Home (Strut STRUT147CD) hit the scene.
Thomas has been around for many years. He was born into a musical family in 1951 (his uncle was the legendary King Onyina), but got his first big break in 1966 when he made the acquaintance of Ebo Taylor, a musician who had studiend in London with Nigeria's Fela Ransome-Kuti. Thus began a musical partnership that would continue on and off for many years, producing a number of fine recordings and revolutionizing the Ghanaian music scene.Together, with Ebo on guitar and Pat as arranger and vocalist, they played in the Broadway Dance Band and the Stargazers, two of the most important orchestras of the era. Thomas's breakthrough as a highlighted artist came in with the release of 1974's False Lover (Gapophone LP 02), recorded with the Sweet Beans, official band of Ghana's Cocoa Marketing Board. A few tracks from this landmark recording are included in an earlier post here on Likembe.
Ghana's political and economic travails in the early '80s impelled many musicians overseas, to London, Germany and Toronto, which gave rise to new and exciting permutations of the highlife sound. Ghanaian musicians in Germany, where Thomas lived for a time, developed a disco/highlife hybrid called "Burger Highlife," which took Ghana and its diaspora by storm. In the late '80s Thomas made the journey to Toronto, joining a vibrant Ghanaian exile music scene which included at times musicians like A.B. Crentsil, Alex Konadu and Joe Mensah. He would remain in Canada for ten years, returning to Ghana in 1997.
Although it was recorded in Lomé, Togo, 1986's Highlife Greats Mbrepa (Jap Records JAP 0102) was released in Canada and is a product of this fertile period. It's a great album, which deserves a proper reissue. Perhaps tracks from it will be included in a future retrospective. For now, though, enjoy!
Pat Thomas - Mbrepa Baba
Pat Thomas - Onsu Nyame Ye
Pat Thomas - Adze Akye Henbia
Pat Thomas - Nyi No Nsen Hwe
Pat Thomas - Asembe Nyi
Pat Thomas - Odo A Me Do Woyi
Download Highlife Greats Mbrepa as a zipped file here.
Monday, June 25, 2012
If you've been around here a while you'll know that I have a major obsession with the 1967-70 war in Nigeria, when the Eastern Region of that country left to establish the independent nation of Biafra. It was a valiant struggle, but the nascent Republic went down to defeat on January 15, 1970. I suspect not everyone shares my interest, but some do, and for them I'm posting another entry in Likembe's Biafra archive - the hard-to-find LP Biafra: Birth of a Nation (Lyntone LYN 1684), issued by the Biafra Choral Society in London in 1968. This was kindly provided by Craig Taylor, and I thank him for it.
On January 15, 1966, Nigeria's First Republic came to an end when Prime Minister Abubakar Tafawa Balewa, Northern Premier Amadou Bello and Western Premier Samuel Akintola were overthrown and executed in a military coup. A counter-coup led by Major-General Aguiye-Ironsi, an Igbo from the Eastern Region, managed to re-establish order, but his military government lacked legitimacy in the eyes of many Northerners, who saw it as Igbo-dominated. On July 29 a coup led by Northern officers led to the deaths of hundreds of Eastern officers as well as Ironsi himself, sparking a series of bloody events. In September and October of 1966 Northern Nigeria was swept by a series of pogroms targeting Easterners, leading to the panicky exodus of more than a million people to their ancestral homes.
In a last-ditch effort to save Nigerian unity, a meeting was held in Aburi, Ghana January 4-5, 1967 between leaders of the Federal government in Lagos and a delegation from the Eastern Region led by Lt. Col. Chukwuemeka Odumegwu Ojukwu. The resulting Accord provided for restructuring Nigeria on a looser confederal basis, but soon became a dead letter as there was no unanimity regarding its interpretation:
The Aburi Declaration
An Efik song:
The Canaan Brothers - Ukaridem (Independence)
The Eastern Region of Nigeria declared its independence as the sovereign state of Biafra on May 30, 1967. It was recognized diplomatically by only five countries: Gabon, Ivory Coast, Tanzania, Zambia and Haiti. In addition it received varying levels of support from Portugal, France, China, South Africa and Israel. Britain and the Soviet Union were solidly on the Federal side, while the U.S. was officially "neutral" but tacitly supported Nigeria:
The Rev. Edmund Ilogu - Declaration of Independence
Biafra's national anthem, "Land of the Rising Sun," is based on the "Finlandia" hymn by Sibelius. The first verse is as follows:
Land of the rising sun, we love and cherish,Land of the Rising Sun (Biafra National Anthem)
Beloved homeland of our brave heroes;
We must defend our lives or we shall perish,
We shall protect our hearts from all our foes;
But if the price is death for all we hold dear,
Then let us die without a shred of fear.
The Rev. G.E. Igwe - Prayer
Rex Lawsons's Kalabari-language "Ojukwu Imiete, Biafra Bolate" was the subject of several previous posts and some speculation. Uchenna Ikonne has unearthed a copy of this subversive song as a 45 (Nigerphone NX 412, left), ostensibly pressed in Nigeria, of all places! It has also been released under the titles "Odumegwu Ojukwu (Hail Biafra)" and "God Bless Colonel Ojukwu":
Cardinal Rex Jim Lawson and his Biafra Republicans Band - Ojukwu Imiete, Biafra Bolate (Ojukwu Thank You, Biafra has Come to Stay)
In this speech Ojukwu levels a number of accusations against Nigerian head of state Yakubu Gowon, most of which are exaggerated or untrue. Gowon apparently played no role in the July 1966 coup that overthrew Ironsi, nor did he "plot" the pogroms of September and October 1966. There is no doubt that the war against Biafra led to a horrendous loss of lives (over a million by conservative estimates) but as to whether it constituted genocide I refer interested parties to this Wikipedia article:
H.E. Lt. Col. Chukwuemeka Odumegwu Ojukwu - The War of Genocide
British Attitude to Nigeria/Biafra War
An Igbo song:
Abraham Onyenobia - Chukwu Zoba Anyi (God Save Us)
At Independence, approximately 40% of the population of Biafra was composed of non-Igbo "Eastern Minorites," Ijaws, Efiks and others. Fearing "Igbo domination," many of these were ambivalent about secession or even actively supported the Federal cause. However, members of minority groups were represented in the Biafran government throughout the war:
Ika Bassey - The Case of the Minorities in Biafra
H.E. Lt. Col. Chukwuemeka Odumegwu Ojukwu - Launching of the Biafran Currency and Postage Stamps
I.S. Kogbara - Excerpt from H.E.'s Address to Special Consultative Assembly, Addis Ababa
Download Biafra: Birth of a Nation as a zipped file, including liner notes, here.
Monday, April 9, 2012
Jerry Hansen, founder of Ghana's influential Ramblers International Dance Band, passed away in Accra Saturday, April 7th. He was 85. Besides leading the band and composing many of its hit songs, Hansen was a founding member and President of the Musicians Union of Ghana
The Ramblers, the last of Ghana's great "danceband highlife" orchestras, were founded in 1961 when Hansen left King Bruce's Black Beats. Their innovative sounds held them in good stead through the political upheavals of the 1970s and ínto the '80s when the band finally expired thanks to changing tastes and poor economic conditions.
Jerry Hansen was one of the last giants of the classic highlife sound and will be sorely missed. Remember him while listening to Ramblers International (Decca WAPS 334), an album from 1976:
Ramblers International - Akwanuma Hiani
Ramblers International - Dear Si Abotar
Ramblers International - Megye Wo
Ramblers International - Inemesti
Ramblers International - Maye Maye
Ramblers International - Mbre Ofiong
Ramblers International - Awusa Dzi Mi
Ramblers International - Esa Ni Otse Ohie
Ramblers International - Dodzi
Ramblers International - Ao Danye
Ramblers International - Highlife Medley
Download Ramblers International as a zipped file here.
Sunday, October 31, 2010
In a just world, Nigeria's "Gentleman" Mike Ejeagha would be considered one of the giants of African music, accorded the same respect as, say, Congo's Franco or Tanzania's Mbaraka Mwinshehe. As it is, he is barely recognized in his own country, such is his intimate connection to the folklore and culture of his native Enugu. But make no mistake - among the Igbo people Ejeagha is a colossus indeed. His lyrics are full of the parables & shaded meanings that are the essence of Igbo culture. His arrangements & guitar work, in addition, are sublime.
Ejeagha was born August 1932 in Imezi Owa, Eziagu LGA, present-day Enugu State, and learned to play guitar from two fellow residents of the coal-mining camps of Enugu, Moses "Moscow" Aduba and Cyprian Uzochiawa. Around the age of 18, he formed his first musical group, the Merry Makers. Soon he was performing and producing for Nigeria Broadcasting Services, and later joined the Paradise Rhythm Orchestra, a group owned by an Enugu hotelier, and the Leisure Gardens Dance Band. He founded the Rhythm Dandies in 1964, which later changed its name to the Premiers Dance Band. The group was forced to disperse during the Biafran war of independence in the late '60s, but reformed after hostilities ended in 1970.
Since the early 1970s, Mike Ejeagha's musical explorations of Igbo folklore have earned him a much-beloved place in the pantheon of modern Igbo highlife music. Some years ago I posted a discography of his recordings, which my friend Maurice O. Ene circulated among his acquaintances, eliciting these heartfelt comments:
I present here a selection of tunes from several of Ejeagha's albums, with translations by my wife Priscilla Nwakaego. "Yoba Chineke" ("Pray to God") from the LP Ude Egbunam (Philips 6361 074, 1974) is a popular gospel tune in Nigeria. The chorus, "Yoba Chineke, chekwube Chineke, yoba Chineke, ogaazo yi" means "Pray to God, put your hope in God, pray to God, He will save you." Ejeagha sings, "Jesus come and hear our voice. Father who created this world, we your children are calling to you to ask for your help. Have mercy and answer our prayers." He calls on listeners to pray to Chineke (God) every morning and night:
"Let me begin by telling you that I am relieved to know that someone is considering to do a discographic project on the works of Gentleman Mike Ejeagha. I almost wrote my University of Nigeria BA thesis on Ejeagha. But, . . . well, that is a long story I'd rather not tell. To cut it short, I have a modest collection of Oga Ejeagha's songs on tapes. I also have some of his records, including Onye Nwe Ona Ebe, Onye Enwero Ana Ebe (POLP 057) and Akuko N'egwu (POLP 094). Ejeagha's music belongs to a genre of music that I call Igbo Popular Traditional as opposed to Igbo Popular Commercial. The latter to which most highlife music belongs is less faithful to Igbo tradition. That is all I can say about that for now." - JAK.
"I grew up (sort of) with Gentleman Mike Ejeagha. My father, a "master" of the Bachata guitar, taught Mike Ejeagha how to play the guitar - that is, the Spanish Guitar (so I'm told). As a four or five year old, I used to "hang out" with and enjoy them playing together for the "house" at their favorite beer joint on Gunning (Hill?) Road, Abakaliki, enjoying the free time my dad had just shortly after the Nwa-Iboko Obodo trials (my dad was one of the judges on the case at the Abakaliki High Court). Mike Ejeagha visited Abakaliki regularly in those days, spending much time with my dad as they investigated their musical interests together - for both of them it was more of a hobby than anything else. It wasn't until the middle of the sixties that Gentleman Ejeagha was talked into considering music as a profession. In the seventies, when he had become an icon of Igbo folk music, I used to visit with him at Enugu, and listen to him think out loud on the ideas he had of making Igbo folk music larger than life..." - Obi Taiwan
"The Gentleman is a very unique musician. He has been playing for a long time. He used to come and play in Ihe during Christmas festivities. I was only a kid then, but I remember some of his early tunes, 'Okuku Kwaa Uche Echebe Onye Ugwo,' 'King Solomon's Wisdom' and others. I believe these were some of his first songs... He is a phenomenal Musician and an exceptional guitarist. I am not sure he has played any thing recently, but he is still alive and well. Unfortunately, when I inquired about him last time, I was informed that he suffered glaucoma and is clinically blind. I cannot confirm this news yet, and until I do, I refuse to believe that it is true." - Hygi Chukwu
Gentleman Mike Ejeagha & his Premiers Dance Band - Ikpechakwaa Kam Kpee
Obiako obi nnwam,
Finally Ejeagha relates the tale of a wise, wealthy chief, and a poor man who was once well-to-do. The poor man spends his days looking at the chief and his affluent friends, wishing to be like them. The chief remembers that the poor man had once been wealthy himself and had spent much of his riches on those less fortunate, and gives him a big bag of money as a reward.
Gentleman Mike Ejeagha & his Premiers Dance Band - Ja'am Mma Na Ndu
Thanks once again to my wife Priscilla Nwakaego for her translations, and thanks to Gilbert Hsiao for sending me a rip of Ude Egbunam many years ago. In a future post I will be discussing "Akuko n'Egwu Original," a series of recordings Ejeagha made for Anambra State Broadcasting in the 1980s. If you enjoy the music I've posted here, I would encourage you to check out some of Ejeagha's other recordings, which are available from My African Bargains. Much of the biographical information in this post is taken from "Life at Old Age is Quite Enjoyable," an interview by Nwagbo Nnenyelike which appeared in The Sun of Lagos, Nigeria on October 15, 2004.
Sunday, August 15, 2010
The Benin Empire encompassed Ijaws, Igbos, Itsekitris and Urhobos, among other groups, but the Edo people constituted the core of the nation. Even today they are celebrated for their artwork, a sample of which is at the top of this post. Much of this was destroyed when Benin City was captured by the British in 1897, and much of the remainder was dispersed around the world. Today Benin City is renowned as a center of education and culture in Nigeria.
Patrick Idahosa & his African Sound Makers - United Brothers
Patrick Idahosa & his African Sound Makers - Tamoubiyememwsm
Patrick Idahosa & his African Sound Makers - Tamiyaregbe
The Amunataba Dance Band are similarly obscure to me, but what a fine album Akenzua (Mikii MAK 504, 1978) is! Sweet guitar highlife in the Peacocks mode, and isn't the front cover great?
Amunataba Dance Band - Eronmwon
Amunataba Dance Band - Akenzua
Willy Adamosa Osagiede got in touch with me many years ago, and even sent me a CD of his recent recordings. Like all of the musicians here, he was most popular in the '70s and '80s. He's presently based in the San Francisco Bay Area, and you can access his MySpace page here. Here are some tracks from his 1976 LP Ukpakon (Afrodisia DWAPS 70):
Adamosa Osagiede & his International Band - Amayamwen Nue
Adamosa Osagiede & his International Band - Igho Nogie
Adamosa Osagiede & his International Band - Wa Gha Hio
Osayomore Joseph's Afro-funk sound has recently drawn some notice thanks to his contribution to the recent Soundway compilation Nigeria Special. Here's a song from his 1982 LP Ulele in Transit (Emotan EMOLP 01):
Osayomore Joseph & the Ulele Power Sound - Efewedo
And here's one from another 1982 album Over the Bar. . . I Beg You . . . (Emotan EMOLP 02):
Osayomore Joseph & his Ulele Power Sound - Alele
Winding things down in style with Idemudia Cole's Talents of Benin, whose Talents of Benin Vol. 5 (Shanu Olu SOS 127, 1981) is as wonderful an example of Edo highlife as you'll ever find:
The Talents of Benin - Ovbiokhokho
Sunday, March 28, 2010
The 1976 album Asaase Asa (Brobisco KBL 016) was a breakthrough hit for Alex Konadu, establishing him as Ghana's foremost exponent of "roots highlife." The title song is based on a true story about Mr. Asaase Asa, who lost both his wife and sister when they were killed by a falling tree. It is dedicated to all who have lost their loved ones.
Konadu had been singing since an early age, and became a leader of the Kantamanto Bosco Group before moving on to the band of the well-known Kwabena Akwaboah for three years and then to the Happy Brothers Band. After going solo he was discovered by the producer A.K. Brobbey and the rest, as they say, is history.
His ability to draw crowds wherever he goes has given Konadu the appellation "One Man Thousand." Withstanding the vicissitudes of fame and fashion, and staying true to his vision of pure, unadulterated highlife music, he has been an inspiration to Ghanaian musicians for years. While Konadu has issued many wonderful recordings over the decades, Asaase Asa is still considered one of his most noteworthy achievements. Enjoy!
Alex Konadu's Band - Obi Aware Wo
Alex Konadu's Band - Me Ne Me Aserene
Alex Konadu's Band - Obiri Pajampram
Alex Konadu's Band - Owuo Mpe Sika
Alex Konadu's Band - Emum Aso Dae
Alex Konadu's Band - Asem Ne Me Ara
Alex Konadu's Band - Asaase Asa
Alex Konadu's Band - W'awu Da Ho No
Download Asaase Asa as a zipped file here. For a taste of Alex Konadu recorded before a live audience, be sure to check out his album One Man Thousand Live in London.
Sunday, January 31, 2010
Eugene de Coque, brother of the late Nigerian highlife master Oliver de Coque, has been based in Los Angeles since the early '90s, and along with his group the Igede Band, played backup for Oliver during his U.S. tours. They've recorded at least four albums on their own, the first of which, Egwu-Igede (Victory Productions VP 001, ca. 1992) is featured here today.
Egwu-Igede, which apparently was released only on cassette, ably continues Oliver's Ogene Sound legacy and takes it to new heights. The integration of traditional Igbo folk elements and modern studio techniques is particularly deft. Enjoy!
Eugene de Coque & Igede Band International - Ojinbe-Eyimegwu
Eugene de Coque & Igede Band International - Egwu-Igede
Eugene de Coque & Igede Band International - Asi Si Jebe
Download Egwu-Igede as a zipped file here.
Sunday, December 6, 2009
I didn't know what to expect when I posted a recording of Fela Sowande's African Suite a couple of weeks ago, but the reaction has been surprisingly positive, not only in comments and emails but in the the number of downloads.
I say "surprisingly positive" because I didn't know what people would make of this effort to fuse African traditional music with European classical forms. Turns out that African "Art Music" isn't the obscure back ally that I thought it was. Not only is there a lot of it out there, it is the subject of a surprising amount of scholarship. Andreas Wetter directs us to two articles on his website Ntama, and the internet offers up considerable analysis for those who are interested.
Reader/listener William Matczynski has passed on a couple of tunes that were direct influences on passages in African Suite. "Akuko Nu Bonto," a Fanti-language song by George Wiliams Aingo from Ghana bears a sharp resemblence to "Akinla" in the suite (and, I might add, to the classic highlife song "Saturday Night," which has been recorded by just about everybody). This version of the song was recorded in London in 1927 by Zonophone Records and distributed all across West Africa. It is included on the fascinating release Living is Hard: West African Music in Britain 1927-29 (Honest Jon's Records HJRCD 33). We can't tell you anything about Mr. Aingo but the CD Roots of Highlife (Heritage Records, 1992), now long out of print, collects a number of his recordings.
George Williams Aingo - Akuko Nu Bonto
Ghanaian composer Ephraim Kwaku Amu was a trail-blazer in the field of transcription of traditional African songs. He was born in 1899 and began teaching in 1920, contemporaneously with his musical education under the Rev. Allotey-Pappoe.
Soon he had composed a number of popular songs, including "Mawo do na Yesu" ("I Shall Work for Jesus"), "Onipa," "Da Wo So" and "Yen Ara Asase Ni." His cultural nationalist tendencies led to a break with the Church, and he left for London in 1937 to study at the Royal College of Music. It was here that he learned to fuse African polyphony with European forms of music. In the late '60s Amu was the director of the University of Ghana Chorus, which recorded the LP Ghana Asuafo Reto Dwom (Ghanaian Students Sing) for Afro Request Records (SPLP 5027). Amu's composition "Ennye Ye Angye Da," included on the album, was the basis for "Joyful Day" in Sowande's African Suite. From the liner notes, the lyrics are as follows:
University of Ghana Chorus - Ennye Ye Angye Da
This is a joyful day.
Why be sad, when all around is happy and merry?
Work and merrymaking alternate each other to make life enjoyable.
We pledge to engage in both, work and merrymaking, each in its appropriate time to make life happy and merry.
Miles Cleret of Soundway Records asked my wife Priscilla to translate some Igbo-language songs for inclusion on the upcoming Volume 2 of the amazing Nigeria Special. Interestingly, in light of our subject matter, one of those songs, "Egwu Umuagboho" ("The Young Maidens' Dance") is by Joy Nwosu Lo-Bamijoko (above), one of the leading lights of Nigerian Art Music. Ms. Nwosu was born in 1940 and has lived in the United States since 1996. In 1961 she journeyed to Rome on an Eastern Nigerian Government scholarship with the ambition of becoming an opera singer. Here she studied in several conservatories for ten years. Returning to Nigeria in 1972, she became Producer of Musical Programs for the Nigerian Broadcasting Corporation and became a Musical Lecturer at the University of Lagos in 1975, holding a number of posts in that institution until 1992.
Ms. Nwosu has recorded several LPs in Nigeria and is responsible for numerous popular compositions. "Egwu Umuagboho," recorded with Dan Satch Joseph's band, is quite unusual for an Igbo song, reflecting her operatic training. It is based on the traditional girls' dance of Nwosu's Enugu region. Lyrically it is more of a "tone poem" than a straight narrative, adress to a girl named Agnes: "Beautiful Agnes. . . what slight is done to another person? . . . peace, peace Udoegwu. . . anger and quarrel. . . Agnes, it's me talking, Agnes, it's me calling:
Joy Nwosu & Dan Satch Joseph - Egwu Umuagboho
"Egwu Umuagboho" is unavailable for download at this time. Many thanks again to William Matczynski and to Priscilla. The beaded artwork at the top of this post is by Nigerian artist Jumah Buraimoh. You can learn more about him here.
Saturday, October 17, 2009
How to explain the dire state of the Nigerian music scene? Judging by what's being spun at parties in Milwaukee these days, it's beset by a plague of cheapo synthesizers and ticky-tacky drum machines, and the less said about the derivative sludge known as "Naija Hip-Hop" the better!
The trend toward artifice and away from artistry is well exemplified by two Igbo musicians, Sunny Bobo and Eke Chima, whose recordings - copied, pirated and distributed from hand to hand - have been ever-present in the Igbo diaspora the last few years. Both singers are said to be masters of the Owerri dialect, which may well be, but judging by their recordings, Old Skool, Obareze, and the many sequels, one can't help but feel sadness at the decline of that city's music scene since the glory days of the Oriental Brothers and their colleagues. I suppose economics are behind the sparse production values of these releases, but it's a regrettable situation still.
Sunny Bobo burst upon the scene a few years ago with Old Skool, and the sequels have followed fast and furious. The first volume of Old Skool reworks a number of classic songs from the Golden Age of Nigerian highlife. In typical Igbo fashion, Bobo sings that a meeting of the minds works best with one's own siblings. He describes a problem he is having with one of his kindred. He goes to the market, or public square ("nkworji") to settle the problem.
In "Willie Willie," a rework of the Peacocks' "Mary Meriamam," he sings about a beautiful girl named Mary, with whom he is quite infatuated. The main theme of the song is to not lose your head: "Elewe ukwu egbuo ewu - look at nyash kill a goat." In other words, don't be so crazy looking at your love's behind that you will do anything for her. Sunny recounts that he and Mary were wed, but that things haven't really worked out. He asks his brothers, "What am I going to do? Love has wounded me!"
A remake of Rex Lawson's classic "Love Adure" keeps things moving. Bobo sings, "Owerri land, please forgive my sins, because love has destroyed me. I am mesmerized by Adure's beauty. O tukwusa m'ukwu odika pillow. O tukwasa m'ishi odika pillow. When Adure places her leg on me it is like a pillow. When Adure places her head on me it is like a pillow." He then calls to an old girlfriend whom he has rejected for Adure, "Rosanna, please forgive me."
"Kinkana," another old song by the Peacocks, refers to native gin, which unlike palm wine, doesn't go bad: "Kinkana no dey sour." Here the singer is proclaiming that, unlike some flashier fellows with their money and fancy clothes, he is for real. There is a reference to Osadebe's classic song "Baby Kwanangida": "Kwanangida no go marry."
"Echendu" descibes a man who goes on a journey and doesn't come back: "Please come home. My heart is broken by your loss." "Bottom Belle," the final song in the Old Skool medley, is a classic tune from the early days of Nigerian independence.
Sunny Bobo - Nkworji-Willie Willie-Love Adure-Kinkana-Echendu-Bottom Belle
Eke Chima's offering here is similarly "Owerri-centric." As this is from a copied CD-R I'm not sure of the exact title of the medley or which CD it is taken from, only that it is from one of his numerous Obareze recordings. Chima sings that people say they don't like Owerri, and in rebuttal offers the names of many prominent Owerri families and individuals: "Ole nde onwe Owerri? Who are Owerri people?," naming among others the Amanzes, the Njokus, Chief Onukaogu and Headmaster Boniface Oha.
He then sings that someday everybody will account for their behavior in life: "Eshi ahu omenjo ga ahu njo ya, omenma ga ahu nma ya. The sinner will see his sins and the good person will see the good he has done. Ole onye ozuru oke? Who on this Earth will say that everything is complete for him?" He then calls out to a friend, "Ahu shiele m'anya - I have seen many troubles." Chima admonishes those who have taken a child's thing to raise their hand and give it back. In other words, don't mistreat another person, especially the helpless. He states once again that all will account some day for how they lived on Earth.
Family relations are a prominent theme in Igbo music. Chima asks if a person doesn't have kin by the same mother (this is presumably referring to relations within a polygamous household) will he kill himself? Of course not. He states that since he has no other siblings by his mother he works very hard and hopes that God will be there for him: "Ebe mu onwehu onye inye aka, agam ime uwam nkpo ole."
Eke Chima & his New Generation Band - Owerri
In the interests of fairness I should present evidence that things may not be so dire for Nigerian music after all: two artists, both scions of musical families, who would seem to refute my thesis that Igbo highlife is on its deathbed, if not already departed. Emperor Teddy Obinna is billed as "Junior Warrior," but he's actually the half-brother of Owerri's favorite son, the late Christogonous Ezebuiro Obinna, better known as Warrior. Ogidi's Amobi Richard Onyenze is the nephew of highlife legend Stehen Osita Osadebe, who passed away in 2007.
Obinna not only has taken up his brother's legacy, but in the CD Uwa Shekiga e Shekiga (C. Meks Music CMS 114, 2004) takes it in bold new directions, incorporating elements of Congo music to great effect. The title song ("The World is Very Shaky") takes up current events, advising that because of the world's instability, everybody should do their best. He sings that he is doing all he can for his family, but that if they are going to be irresponsible and not do for themselves in return, it's not his problem ("Onye zuzuo n'elu uwu ya aka ya aka - if you are stupid in this world it is your own fault.") He says that even in America, people are afraid because of Osama Bin Laden ("Osama bin Bomb Bomb") and mentions the war in "Iraqi land." Even old women have confirmed that the world is not as it used to be. Obinna calls on Nigeria's leaders to help make things better:
Emeror Teddy Obinna - Uwa Shekiga e Shekiga
The Emperor seems to spend a lot of time outside of Nigeria performing for the Igbo diaspora. He certainly has a feeling for their problems and concerns. In "Onye Nchem" he decries lazy Nigerians who take advantage of their hard-working relatives abroad. The song itself is about God's concern for the world. Obinna sings that without God's protection all of the guns and all of the armies in the world are useless. All of the people who bear grudges need God's blessing because he will judge them: "Let the Lord not protect an evil plotter." The chorus is "Make sure you are doing right."
Emperor Teddy Obinna - Onye Nchem
Judging by his eighth release Livin' Dey Highlife, available from Akwaaba Music, Amobi Onyenze is capably carrying on the Osadebe legacy, but one hopes that in the future he will strike out into fresh territory rather than continue to till the old man's field. In "Akachukwu di Ya" ("God's Hand"), Oyenze sings, "In everything we do in life we must seek God's hand to make it success. With God's hand our success is guaranteed. Whoever God's hand beholds shall never fall nor fail. God's hand is in my life, in my family. That's why I'm a success."
Onyenze - Akachukwu di Ya
Thanks once again to my wife Priscilla Nwakaego for interpreting these lyrics. The translation of "Akachukwu di Ya" was provided by Akwaaba Music.