Oliver de Coque is Dead

From The Sunday Tribune (Lagos):

Highlife musician, Oliver De Coque is dead. Sunday Oliver Akanite, who hailed from Anambra State, died on Friday after an apparent heart attack.

His daughter, Uju, said her late father was rushed to July Hospital in Gbagada, Lagos, after complaining of irregular heart beat on Friday.

He suddenly started complaining that his heart was beating faster than normal, and that he had problems breathing, she said, sobbing.

When the family eventually rushed him to the hospital, Oliver was said to have vomitted ten times in ten minutes before he finally died.

Tony Okoroji, who expressed shock at the death of another friend of his, said Oliver was all fun on board Soul Flight to Imo for the NMA last month and that he couldn’t believe the guitarist is dead.

Also, King Sunny Ade expressed sadness over the death of Oliver, saying he was one of the best Nigerian guitarists he’d ever known. Same for K1 and Saka Orobo, FUMAN president. Both described Oliver’s death as the final blow to highlife music.

This is a great tragedy and loss for Nigerian music. I will shortly post my personal memories of De Coque and more news as it becomes available.

Nigeria's Golden Voice

Comb and Razor's recent post on Onyeka Onwenu has put me in mind of another exemplary Nigerian female singer. I'm referring to Nelly Uchendu, the "Golden Voice of Nigeria," who passed away on May 19, 2005. Actually, Uchendu was a bit of a musical oddity. While there has been no shortage of female "pop" singers in the Naija music scene, and women singers dominate Nigerian gospel, Nelly was one of the few female singers in the Igbo highlife genre (actually I can think of only one other, Queen Azaka).

Nelly burst upon the scene in 1977 with "Love Nwantiti," a song based on the folklore of her native Enugu, and quickly followed that up with a number of hits like "Aka Bu Eze" and "Mamausa." She had a much-praised appearance with Warrior and his Original Oriental Brothers in London in the early '80s, and recorded the soundtrack of the film adaptation of Chinua Achebe's "Things Fall Apart." Toward the end of her life she devoted herself exclusively to Christian devotional songs.

Unfortunately, I have been unable to obtain copies of "Love Nwantiti" or "Mamausa," Nelly's two biggest hits, but I am happy to own three of Nelly's LPs, as well as Late Nite Husband, by Sonny Oti & his group, on which she sings lead vocal. Here are some tunes from them. Enjoy!

"Udo Ego" from Aka Bu Eze (Homzy HCE 012, 1977) addresses the problem of whom to marry? You love your family more than anything but you have to marry outside the family. This means that your potential spouse might not share your values or your family's values. In the song a young man states that he would like to marry a girl like his sister, Udo Ego. Actually, the song expresses, in Igbo terms, the sentiments of an old American popular tune, "I want a girl just like the girl that married dear old Dad." If this sounds peculiar, keep in mind that the Igbo concept of incest is far more expansive than in most Western cultures - marriage between even distant relatives is considered an abomination.

Nelly Uchendu - Udo Ego

In the lively highlife tune "Elozekwanna Nwanne Gi," also from Aka Bu Eze, a mother sings to her son, "never forget your brother and sister" ("Nwanne Gi," literally "your mother's child"). "My child, remember that on the day you die, the person who will be called upon to bury you will be your brother or sister." For Africans, these family responsibilities are a blessing but also a curse, as successful family members are expected to support their ne'er-do-well relatives.

Nelly Uchendu - Elozekwanna Nwanne Gi

Compare "Elozekwanna Nwanne Gi" with the following song, from Celestine Ukwu's True Philosophy (Philips 6361 009, 1971):

Celestine Ukwu & his Philosophers National - Igede Pt. 1

"Late Nite Husband," from the LP of the same name (Homzy HCE 013, 1978) addresses the age-old problem of young women who marry "walk-abouts" who stay up at all hours drinking and chasing the ladies:

Sonny Oti & his Group w. Nelly Uchendu - Late Nite Husband

Detail from the cover of Late Nite Husband:



"Ezi Gbo Dim" ("My Good Husband") is from the album Ogadili Gi Nma (Afrodisia DWAPS 2168, 1982), as are the next two songs. Nelly sings, "My good husband, tell me what to do so you will love me? What can I do so that you will love me? I will dance for you, I will dance for you so you will continue to love me."

Nelly Uchendu - Ezi Gbo Dim

Anyone who has been in Igboland during festival season is familiar with the subject of the following song. The leader of a dance troupe calls out to the owner of a house to come out and give her money or a wrapper ("akwa") in exchange for their performance:

Nelly Uchendu - Akwa Alili

In "Nga Meji Eru Uwa" Uchendu sings to her parents, "see how much I have seen of the world." She then calls out to a succession of Nigerian musicians - Ebenezer Obey, Sunny Adé, Christy Essien Igbokwe, Warrior, Dan Satch and Bobby Benson - to "come and dance to my music":

Nelly Uchendu - Nga Meji Eru Uwa

The next two songs are taken from Uchendu's cassette of Christian devotional songs Sing Praises (Rogers All Stars RASLPS 132, early '90s). This sort of highlife/gospel music is omnipresent everywhere in Igboland. In fact, I would guess that it is the most popular genre of music by far. In "Cheta Tikue Jehova" ("Remember to Praise Jehovah") Nelly sings, "If you are sick, remember God. God is merciful and gracious. Only God can bless you."

Nelly Uchendu - Cheta Tikue Jehova

"Ekwensu Adago" means "Satan is Falling." Nelly sings, "Ife Jesu a sokammu-oo," "I love Jesus's way," and continues, "ife omelu mu'erika nu'wa, O solummu kam sobe ya-oo," "What he did for me in this world is very great. That is why I praise him." The chorus, "Osoluma kam sobe ya," means "I will always follow his way."

Nelly Uchendu - Ekwensu Adago

Thanks to my wife Priscilla for interpreting these lyrics.

Discography of Nelly Uchendu

A Long-Lost Highlife Classic

Ikoro's '70 Special (Philips West Africa 6386008) by Dan Satch and the Professional Atomic 8 Band is an album I've been intrigued by for many years. A friend loaned it to me twenty years ago, minus the sleeve, and I dubbed it to a 10" tape reel. The reel lay unlistened to for many years in a box in my office, until I finally was able to digitize it, and many others, last fall.

What has always been a mystery to me has been the identity of "Dan Satch." There is, of course, a well-known Nigerian musician by that name, guitarist Ferdinand Dan Satch Emeka Opara, a co-founder of the legendary Oriental Brothers Band of Owerri. I had always assumed that the Atomic 8 Band was something he was involved in before hooking up with the Orientals (since Ikoro's '70 was recorded in 1969 and the Orientals were founded around 1971 this seemed plausible).

There are some problems with this assumption. The Atomics followed the style of danceband highlife greats like Rex Lawson and Bobby Benson, with some interesting pop and Afrobeat touches. The Orientals, of course, were the pre-eminent representatives of the guitar-based highlife sound that displaced the old dance band sound in the '70s. The two bands' respective styles couldn't be more different. Moreover, the Atomics were based in Aba while Dan Satch Opara hails from the Owerri area.

Which is where things stood until a few months ago, when I received an email from our friend Rainer in Switzerland. It seems he had obtained a copy of the original Atomic 8 10" LP, including the sleeve, and he kindly sent me a scan. One look and it was clear that the leader of the Professional Atomic 8 Dance Band and Dan Satch Opara were not the same person. The liner notes state:

The Atomic "8" Dance Band is led by Dan Satch Joseph who is a seasoned pure tone trumpeter and an arranger. Thirty years old Dan Satch started playing the trumpet in 1959 and was the trumpeter leader of Bobby Benson & his Jam Session Band until 1961. In 1962 he moved to Aba and formed the Atomic "8" Dance Band.

Moreover, look at the photographs of the two musicians. Dan Satch Joseph is on the left, Dan Satch Opara on the right:



So even though it is fairly clear now that there is no connection between the Professional Atomic 8 Band and the Oriental Brothers, Ikoro's 70 Special is an excellent album in its own right: a glimpse into the long-lost era of sophisticated Nigerian dance music. Moreover, the use of various languages indicates that the Nigerian music scene was maybe not always as splintered as it is today.

Tracks by the Atomic 8 have been popping up lately on various compilations of classic Nigerian music, on Rusted Highlife Vol. 1 (Mossiac MMCD 1812, 1996), Lagos All Routes (Honest Jon's Records HJRCD 17, 2005), and this year's much-acclaimed Nigeria Special (Soundway SNDWCD 009). The track order on the Ikoro's 70 Special record sleeve is different from that on the record itself and includes two songs that are not on the record, "Eluwa" and "Hasiam." The track order here follows that of the record. For more information on the songs, click the image below:

Dan Satch & the Professional Atomic "8" Dance Band - Ikoro's 70 Special

Dan Satch & the Professional Atomic "8" Dance Band - Take Your Time

Dan Satch & the Professional Atomic "8" Dance Band - Tamuno Emi Dan Satch

Dan Satch & the Professional Atomic "8" Dance Band - Akadi Nwata Ma

Dan Satch & the Professional Atomic "8" Dance Band - Kente

Dan Satch & the Professional Atomic "8" Dance Band - My Girl in Love!

Dan Satch & the Professional Atomic "8" Dance Band - Adiaha Obong

Dan Satch & the Professional Atomic "8" Dance Band - Ocho Okuko Nwe Ada

Dan Satch & the Professional Atomic "8" Dance Band - Calabar O

Dan Satch & the Professional Atomic "8" Dance Band - Onye Huru Odum

Kabaka: Mangala Special

Nigeria's Oriental Brothers International were established in 1971-72 by Owerri innkeeper Chief James Azubuike, who needed a house band for his establishment, the Easy Going Hotel. To this end he recruited Godwin Kabaka Opara and Ferdinand Dan Satch Emeka Opara (no relation) of Owerri and Christogonous Ezebuiro Obinna ("Warrior") of Abor Mbaise. These three were soon joined by Nathaniel Ejiogu ("Mangala"), Lyvinus Alaraibe ("Akwilla"), and Prince Ichita, all freelance musicians in and around Owerri and Aba. Mangala died shortly after the founding of the band.

Although the Orientals in the early years were ostensibly "led by Godwin Kabaka Opara," Kabaka (above) walked out in 1977 to found the Kabaka International Guitar Band. The main reason was apparently a leadership struggle with Dan Satch, but there were probably artistic differences as well. Kabaka wanted to move the band toward the faster-paced Ikwokilikwo style then being made popular by the Ikenga Super Stars of Africa and Oliver de Coque, which Dan Satch and Warrior resisted. On the Kabaka Guitar Band's first recordings, its style is described on the label as Ikwokilikwo Kabaka.

Kabaka was joined by no one when he left the Oriental Brothers, but he was able to draw on a large pool of free-lance musicians in Owerri to assemble a first-rate guitar band. The group's first LP, titled Mangala Special (Deram DLPS 004, 1977, right) in honor of the late musician, caused an immediate sensation, and the group has enjoyed many years of success in Nigeria. In recent years Kabaka and Dan Satch, the two surviving founders of the Orientals, seem to have reconciled and have made videos together under the Orientals banner.

Want to know what all the excitement was about? Here, in its entirety, is Mangala Special:

"Izu Kanma na Nneji" more or less means "It's easier to agree with someone when you share the same mother." This phrase takes on added meaning in the context of the African practice of polygamy. Polygamous families often divide into factions based on the offspring of various mothers.

Kabaka International Guitar Band - Izu Kanma na Nneji

"Chukwu Kere Mmadu" means "God Who Created People": "God ('Chukwu,' literally 'Great Spirit') created everybody and he created rich and poor, but death ('onwu') intrudes. Death doesn't discriminate, death has no friends. Kabaka, my brother, let it go." This apparently alludes to a tragedy that had recently befallen Kabaka or someone in his family.

Kabaka International Guitar Band - Chukwu Kere Mmadu

The title of this song means "God, Drive Away the Devil": "God ('Chineke') is the 'king' ('eze') of heaven, and his wrapper ('ogudo') drags on the ground. Everything in the world is his creation. Please, God, use your powerful hand to protect us ('tukwasa anyi na ishi,' literally 'cover our heads'). God, forgive all of our sins."

Kabaka International Guitar Band - Chineke Wetuo Ekwensu

"Mangala Special" is a tribute to Nathaniel Ejiogu, a founding member of the Oriental Brothers who died shortly after the founding of the group ('Mangala,' his nickname, literally means a type of dried fish!): "One doesn't know what someone else is looking for in life. Send a message home to Imo State that Mangala died a tragic death. He will no longer enjoy his cigarettes. He will not get married." The refrain "Mangala Sarawa" is hard to decipher. "Sarawa" is not an Igbo word. Possibly it is Hausa. Is this a slang expression?

Kabaka International Guitar Band - Mangala Special

One irritating feature of Igbo records produced in Lagos and outside of Nigeria is that the song titles often contain mis-spellings that change their meaning or render them unintelligible. Mangala Special features several incorrect spellings of this type. This song was entitled "Ichere Chi Amaghi Onye Iwu," which means "do you think the Creator doesn't know who you really are?" The title actually should be "Ichere Shi Amaghi Onye Iwu," meaning "do you think I don't know who you really are?" The lead singer here calls out to various individuals with this phrase. Presumably it is meant as a compliment, but maybe it isn't.

Kabaka International Guitar Band - Ichere Shi Amaghi Onye Iwu

"Ajam Ashi-Mi" is an undecipherable phrase, possibly a regionalism. The lyrics themselves are hard to figure out. They literally seem to say, "Instead of telling me the truth, you told me you were going to park your car." But the song has a good beat!

Kabaka International Guitar Band - Ajam Ashi-Mi

Thanks once again to my wife Priscilla for interpreting the lyrics. Thanks also to Vitus Johnson Laurence, who provided much of the background information on Kabaka and the Orientals.

Discography of the Oriental Groups

Wayward Girls, Greediness and Fancy Hotels

When Nigerian highlife king Stephen Osita Osadebe passed on May 11 of this year, it could reasonably be said that an era died with him. Apart from Victor Olaiya, Osadebe was the last important exponent of "dance band" highlife in Nigeria, and the only significant Igbo artist working in that genre. His contributions to Nigerian music were incalculable; not only did he carry the torch of classic highlife to the very end, his compositions became evergreen classics beloved by millions: "Sisi Kwanangida," "One Pound No Balance," "Nri Sports di Uso," "Osondi Owendi," "People's Club Special" and many, many more.

Over the course of his fifty years in music, "The Doctor of Hypertension," or Osili, as he was fondly known, put out at least sixty LPs and numerous 45s. Some of the best of these recordings were included in 2001's compilation disc, Sound Time (IndigeDisc 495 001), and many others have been reissued on CD in Nigeria, although these are very difficult to obtain (try Sterns). Some years ago I compiled a discography of Osadebe, which you can find here.

One of my chief aims in establishing Likembe was to promote and explain the Igbo music that I love so much, and toward this end I hope to post as many recordings by the great Doctor as I possibly can. We're kicking things off with selections from four LPs issued in the early 1970s: Uju Special (Philips 6361 015, 1972), Egbunam (Philips 6361 024, 1972), Osadebe '75 (Polydor POLP 001, 1974) and Osadebe '76 (Polydor POLP 004, 1975).

Of course, Osadebe had been making great music since the 1950s, when he got his start with Zeal Onyia's band, and released his first single, "Adamma," in 1958. It was following the defeat of the Biafran war of independence (1967-1970), though, that he really began to make his mark on the national and international scene. These four albums, massive hits all, played a major part in cementing his reputation.

"Uju Special," the opening track from Osadebe's LP of the same name (left), concerns Osadebe's sister Ononuju. Uju's husband and in-laws treated her poorly because she couldn't conceive. Osadebe and his family begged her to return home - "Ononuju nwannem ngi kam na kpo," which she did. She remarried, and gave birth to many children.

The closing, "Okwu fa kwulu ya dili fa na Uju difu o," proclaims "in spite of everything they said Uju is still here!"

Commander in Chief Stephen Osita Osadebe & his Nigeria Sound Makers - Uju Special

The derisive song "Sisi Kwanangida," also from Uju Special, concerns young Igbo women who sought the company of the Federal troops who occupied Eastern Nigeria following the end of the Biafra war. "Kwanangida" is actually a Hausa term and was applied generally to these soldiers whatever their ethnicity. Osadebe remonstrates with such women for pursuing these men and their money, and predicts that they will be disappointed in the end: "Sorry-O. Kwanangida no go marry you! Baby Kwanangida now you go tire!"

Commander in Chief Stephen Osita Osadebe & his Nigeria Sound Makers - Sisi Kwanangida

"Baby One Pound No Balance," also from Uju Special, similarly addresses the subject of what might be called "wayward women," in this case a prostitute who states her non-negotiable price: "One Pound, no balance!"

Commander in Chief Stephen Osita Osadebe & his Nigeria Sound Makers - Baby One Pound No Balance

In the early '70s the Matador Hotel in Onitsha was the destination for nouveau riche gentlemen to eat, drink and show off their girlfriends. I presume Osili was given a bundle of cash by the owners to record "Matador Special," from Egbunam (right), and it was a big hit for him. He asks, "Onye ma mbosi anwu?" "who knows the day they will die?" In other words, have fun while you can!

He further asks, "What does Osili want? Number one, that he will eat well. Number two, that he will have the most enjoyment. Number three, that he will wear the most beautiful attire. Number four, that he will have a beautiful lady by his side while he enjoys himself!" Of course, all of these things may be found at the Matador!

Commander in Chief Stephen Osita Osadebe & his Nigeria Sound Makers - Matador Special

"Ezi Ogolidi" ("Husband's Sweetheart"), also from Egbunam, is a love song. Osadebe pleads, "Onyeoma (beautiful one), you've done it to me again, but you've also done it to yourself ('aye aye ni ime onweyi'). Who is Osili going to go to now? Osili loves you. Must I kill myself for you to know? A woman can be beautiful on the outside but have a heart like a stone. A woman can be ugly but have a heart like a mirror. It is best to have the one with the beautiful heart."

(I apologize for the poor quality of this recording. If I can find a better copy, I will post it.)

Commander in Chief Stephen Osita Osadebe & his Nigeria Sound Makers - Ezi Ogelidi

Side 1 of Osadebe '75 (left) is a three-part medley that showcases the virtuosity of Osadebe's backup group, the Nigeria Sound Makers (unfortunately, as on all of Osadebe's albums, these musicians are uncredited.) "Onu Kwube" basically means "let people talk" and is more or less a collection of proverbs: "A child cannot go before his father. After a race, you will see who ran faster. Let no one wish each other death. Let mine be mine ('Nkemdilim')."

The title of part two of this sequence, "Ejim Ofor Aga," means "I keep my hand straight in everything I do." "What does the eye see that it cries blood? Let nobody kill each other."

Commander in Chief Stephen Osita Osadebe & his Nigeria Sound Makers - Onu Kwube / Ejim Ofor Aga / Instrumental 1

Another killer double-header, from Osadebe '76 (right), closes out our survey of Osita Osadebe's early Seventies recordings. "Ome Ife Jide Ofo," a common Igbo proverb, means "whatever you are doing, make sure you are doing right." In this song Osadebe addresses intra-family disputes: "Anger between brothers and sisters doesn't go to the bone. A sister and brother will not eat together and not trust each other." The title of part two, "Anya Ukwu Dinjo," literally means "big eyes are bad," or in other words, "greediness is bad." The song states that anyone who is used to greediness is in big trouble, that greediness is unholy, an abomination, etc. etc.

Chief Stephen Osita Osadebe & his Nigeria Sound Makers - Ome Ife Jide Ofo / Anya Ukwu Dinjo

Once again, many thanks to my wife Priscilla for patiently translating these lyrics for me. We tried to render them in vernacular English as much as we could, but because of differences in dialect, etc. there may be some discrepancies in interpretation. Feedback, as ever, is appreciated.

Mali Cassette Grab Bag: Two Mamadou Doumbias and More

This is the final installment of "Mali Cassette Grab Bag," and this one really is a mixed bag. We've got some highlife, some soukous, some kamalan n'goni and a Burkinabé ballad. Researching the artists has been an education for me. Among other things, I chanced across the website of Yaala Yaala Records, which is dedicated to releasing just the sort of music we've been listening to in the last few posts:

In 1999 I moved with my wife and young son to Bougouni, a town on the edge of Mali’s culturally rich Wassulu region. I’d listened to and enjoyed such Malian musical imports as Oumou Sangare, Ali Farka Toure, Salif Keita, Toumani Diabite and Habib Koite while still living in the States and was excited to get to Mali to learn more about these and other artists.

I learned very quickly that there was a huge gulf between what many people out in Bougouni listened to and what was being exported to the West; many local Malians made dismissive sounds with their mouths when I mentioned the above musicians. Many of the cassette vendors I got to know stared blankly when I asked about certain artists.

I began to suspect that much of the music I’d heard back in the States was almost created for export rather than for local consumption, and whether or not this was objectively true did not matter. From my perspective it was true. Out en brousse, in the bush, on Radio Banimotie and blaring forth from battery-driven boomboxes and handheld radios carried by any number of people wandering through Southern Mali, there existed an entirely different world of music and sound that I found infinitely more interesting and exciting than the slick pop music made in French, British or Belgian studios.

Much of this music was home-grown music performed locally for little else beyond an immediate audience’s enjoyment; it was traditional or folk music but in the hands of the endlessly inventive and dynamic local musicians it exemplified the best qualities of the do-it-yourself attitude that I’d grown up with back home.

The name Yaala Yaala was taken directly from what many a Bougounian musician would answer when asked “Ça va?” (how’s it going?); “Yaala yaala,” they’d answer. Just wandering.

Yaala Yaala Records’ goal is to release this music, in addition to similar music from parts of the world, particularly Mali and West Africa, that you might hear if you were wandering yourself among the cassette stalls in Bougouni, Bamako, Kolondieba, Sikasso, Segou, Fez, Marrakesh, Cairo, Dakar.

We’re releasing this music for no other reason than we like it!

An attitude with which I wholeheartedly concur! This description of the music scene in Mali pretty much squares with my experiences in Nigeria in 1994 and '95: It wasn't that the average person didn't listen to Sunny Adé or Fela (who was still alive and performing then, a couple of years before he died; I could just kick myself for not catching an advertised concert in Lagos when I was there!) or the other official World Music™ icons. They respected them, but those guys were pretty much old hat. The common folk had a whole 'nother universe of sounds they were tuned into, which blared out of market stalls and taxicabs across the country: Igbo gospel accompanied by cheapo synthesizers and drum machines, wailing, warbling Islamic vocals, soul-thumping perscussion, Hausa praise-singing and hysterical guitar highlife. . .

But I digress. While researching our first four selections on the internet, I was presented with a bit of a quandary. I had thought that these recordings were all by the same artist, but it seems that they are by two different musicians named Mamadou Doumbia, one from Mali and the other from Côte d'Ivoire! And to further befuddle matters, there is yet another Malian musician named Mamadou Doumbia residing in Tokyo, who once played with the Rail Band and Salif Keita and has a band called Mandinka (not to mention an Ivoirian footballer by the same name, who as far as I know has no musical talent!)

I think I've got things sorted out now, so let's proceed: Our first Mamadou Doumbia, "alias Percey," was lead vocalist for Super Biton de Segou, one of Mali's foremost orchestras of the 1980s. When Super Biton fell apart, he struck out on his own, making at least one recording, 1992's outstanding Kelea Diougou (Camara Production 047), from which we take two tracks, "Momdole" and "Secheresse (Dabakala)." "Momdole" is unusual in that it is a melody in the Burkina Faso style.

Mamadou Doumbia alias Percey - Momdole

Mamadou Doumbia alias Percey - Secheresse (Dabakala)

Our next Mamadou Doumbia has apparently been around since the sixties, but that's all I can tell you about him. He gives us two highlife-style songs, "Mariama" and "Olonan," from his 1993 release Mariama (no label YR 07). As an Ivoirian, this Mamadou technically doesn't belong in a post entitled "Mali Cassette Grab-Bag," but who wants to split hairs?

Mamadou Doumbia & l'Orchestre Conseil de l'Entente - Mariama

Mamadou Doumbia & l'Orchestre Conseil de l'Entente - Olonan

And as for the third Mamadou Doumbia, I would love to put up some music by him, but unfortunately don't have any.

Abdoulaye Diabaté, born in Segou in1952, has been singing since he was eight and professionally since 1974, at first in Mali and later in Côte d'Ivoire, and has lately drawn international attention with a series of CD releases. "Fantanya" is the opening track of his casseette Namawou (Syllart SYL 83135):

Abdoulaye Diabaté - Fantanya

Yoro Diallo is from the Wassoulou region, which has produced so many wonderful Malian vocalists, and is a master of the kamalan n'goni, a relative of the kora. Awhile back Awesome Tapes from Africa posted a whole cassette by this artist, and the above-mentioned Yaala Yaala Records has released a CD devoted to his music. I give you here " Tognomagni" from his release Tjekorobani Vol. 2 (Camara Production CK7 157):

Yoro Diallo - Tognomagni

Finally, a track by Djelimadi Sissoko. There is a kora player by that name, who has made some recordings with the veteran maestro Sidiki Diabate, but this song, "Sory Kadia," from the compilation Sabougnouna (no label 7488) is so radically different in style that I'm wondering if this isn't another case of one name, two musicians. Anyway, "Sory Kadia" is ample proof that the wave of soukous that swept out of the Congo in the Sixties, Seventies and Eighties did not bypass Mali!

Djelimadi Sissoko - Sory Kadia



As I mentioned earlier, "Mali Cassette Grab Bag" came about because I haven't had time to digitize a lot of new material, so I've been posting stuff that I've had on my hard-drive for some time. I've been working on digitizing some early '70s LPs by the late, great Stephen Osita Osadebe, and hope to have them up, with the requisite commentary, in the next week.

Ikenga Super Stars: Kickin' Ikwokilikwo!

The Ikenga Super Stars of Africa, led by Victor Okoroego, weigh in here with a funky slice of Ikwokilikwo. The Ikengas were born in 1973 as "The Nkengas" when they split from bandleader Osita Osadebe, in the process hijacking the master tape that became the legendary Nkengas in London (Orbitone OTO 06, 1973). This was but a prelude, though, to the group's massive hit, 1975's Ikenga in Africa (Rogers All Stars ASALP 2).*

The band continued kickin' it at least until 1984, when its output seemed to trickle out with the rather weak War Against Indiscipline (Rogers All Stars RASLPS 065). In the meantime the Ikengas established themselves as one of the most beloved Nigerian groups of all time, not only in their homeland but across Africa and in Europe as well. African music fans were delighted when a collection of Ikenga recordings, Great Hits Vol. 1 (Rogers All Stars RASCD 018), was finally issued on CD a couple of years ago.

Side 1 of this LP, Late Celestine Ukwu Special (Roger All Stars ASALPS 12, 1977), pays tribute to the great highlife musician Celestine Ukwu, who died in 1977 in an auto accident. It opens with the refrain "ariri," meaning "grief" and continues, "...we go about our lives but we don't know how close death is... Life is pleasurable but death spoils everything... The death that took Celestine Ukwu did something terrible to us." "Ego di Nogwu" on Side 2 is actually mis-spelled. It should be "Ego di Nugwo" ("There's Never Enough Money"). The refrain repeated throughout the song, "Ego siri ike, ego di nugwo," means roughly "Money is hard to get, there's never enough money." The song continues in that vein, stating approximately, "I'm not going to steal for money, I'm not going to kill for money... Make sure your hands are clean."

Neither of these tunes is on Great Hits Vol. 1. Enjoy! And once again thanks to my wife Priscilla for interpreting the lyrics.

Ikenga Super Stars of Africa - Late Celestine Ukwu Special

Ikenga Super Stars of Africa - Ego di Nogwu

* Which you can download here. And in case you were wondering, Ikwokilikwo (or Ikwokirikwo) refers to a fast-paced form of highlife popularized by Oliver de Coque and Godwin Kabaka Opara (of the Oriental Brothers and later Kabaka Guitar Band) in addition to the Ikengas. A product of the confluence of Congo music, benga from East Africa and the Igbo cultural renaissance that took place following the Biafra war, Ikwokilikwo was quite the rage in Nigeria in the late '70s. A discography of the Ikenga Super Stars is available here.

Some Recent Tunes From Ghana

If you're a homesick Ghanaian who's hungry for the taste of Banku, Kenkey or Shito, Makola Super Market in Chicago (1017 W. Wilson Ave., 773-935-6990 or 773-878-3958) is the place to go. In addition to its culinary offerings, Makola has a nice selection of Ghanaian DVDs and CDs, almost none of them available through the usual World Music™ sources.

I've been wanting to do a post on Ghanaian music, and since I'm a bit pinched for time, it seemed easy enough to rip some tracks from a few of these CDs. I got these the last time I was in Makola, which must have been four or five years ago, as they're all dated around 2002. So, they're not the very latest thing from Ghana, but they do give one a decent idea of what's been going on musically in that country recently.

Those hoping for the sophisticated sounds of classic dance-band highlife ala the Ramblers or Uhurus, or the down-home guitar stylings epitomized by the African Brothers Band are in for a disappointment. These tracks are all in the synthesizer-heavy "Burger highlife" style that started among Ghanaian musicians in Germany twenty years ago and has been so popular of late. I'm a bit distressed about the eclipse of the classic Ghana guitar sound myself (and if it hasn't been eclipsed, please school me; I'm not as up to date on these matters as I should be!), but I have to say that for synth-pop, these tunes pretty much hit the spot for me. The cheesiness quotient is low, the arrangements are top-rate, and the vocals are mighty fine indeed.

I can't tell you much about the artists, nor anything about the lyrics. If anyone out there is familiar with Twi or whatever language(s) these are in, please enlighten us!

Nana Tuffour is the only one of these musicians that I was familiar with. He is said to have been born on Valentine's Day 1954 and has been recording since at least the 1980s, having released numerous LPs, cassettes and CDs. "Abeiku" is from his CD of the same name (Owusek Productions OW 66-2, 2002). The prolific Oheneba Kissi has been recording since 1990 and has put out 13 albums. I was kinda knocked on my heels by the opening notes of "Wogya Me Ho A," a fine tune from his 2002 release ABC of Love (Owusek Productions OW 65-2).

Nana Tuffour - Abeiku

Oheneba Kissi - Wogya Me Ho A



It just goes to show how out of it I am that I'd never heard of Kojo Antwi - he's released at least a dozen CDs. His voice has been compared to R. Kelly's, and he looks a little like him, too. "Eva," aka "Sista Sledge," accompanies him on "Odo Ano Wappi," from Densu (Freedom Family Music FFM08152002-12, 2002). I can't tell you much about Nana Acheampong other than he was one of the famous Lumba Brothers back in the '80s before going solo. He has issued numerous cassettes and CDs on his own and recently re-united with his partner Daddy Lumba (Charles Kwadwo Fosu) for a Lumba Brothers reunion tour. "Gyegye Meso" is from XXL (Owohene Productions MOR 0210).

Kojo Antwi - Odo Ano Wappi

Nana Acheampong - Gyegye Meso



London-based Kwaisey Pee has several CDs to his credit and has been making inroads in the home market. "Enye Agro" is from Krokro Me (New Era Productions). I was quite impressed with Kaakyire Kwame Appiah's Eye Gye (Tropic Vibe Productions 2002-2003). Not only does Mr. Appiah pay tribute to Nico Mbarga's "Sweet Mother" in this tune, "Kono Saa," he also references the Mahotella Queens' "Kazet" on another track, "Shubidu." Catch the video here.

Kwaisey Pee - Enye Agro

Kaakyire Kwame Appiah - Kono Saa



If you're interested in obtaining any of this sort of music, try Ghana.co.uk. I've not had any dealings with them, so I can't say how reliable they are, but their website features an excellent selection.