Showing posts with label Highlife. Show all posts
Showing posts with label Highlife. Show all posts

Monday, September 28, 2009

Igbo Garage Bands




Sad as it is for me to report, I think the Igbo highlife sound, at least as we have known it, is dead and buried, the great stylists - Osadebe, Warrior and Oliver de Coque - having passed on in the last few years. In their places have emerged a new crew - Eke Chima, Sunny Bobo and the like - who have numerous fans but offer a synthesizer-and-drum-machine-based style that's just a pale imitation of the classic sound, at least in my humble opinion.

In a future post I'll be discussing some of those new guys, but here I want to talk about some of the lesser-known musicians of the '70s and '80s, just a few of the journeymen who made the Igbo highlife scene of the time so vital and productive. In a way they're equivalent to the "garage bands" of the 1960s in the US, who toiled away in obscurity in hopes of someday scoring a regional hit. In the Nigerian case, some of these musicians put out numerous recordings and were quite popular. They just weren't in the top tier of the Igbo music scene.

One such musician was Owerri-based Douglas Olariche, whose LP Me Soro Ibe (Fontana FTLP 109, 1980) makes inspired use of native xylophone and the Igbo ogene bell. The title track, whose title means "Let the World Let Me Follow My Mates," is basically a series of Igbo proverbs such as "a gift knows who wrapped it" strung together, while "Elele" sings the praises of various individuals such as a man who makes his living in the transport business and the Owerri highlife band the Imo Brothers:

Douglas Olariche & his International Guitar Band - Me Soro Ibe

Douglas Olariche & his International Guitar Band - Elele



Also of Owerri, the guitarist Joakin followed a similar career trajectory, scoring a number of regional hits in the mid '80s. In "Nwagbeye Ebezina," from the album of the same name (Sann SR 13, 1984), he sings "poor man's son, do not cry." The chorus is "nobody comes into this world with wealth." "Chikereuwu Buonye Ogbubbonjo," from the same LP, means "God the Creator is the Preventer of All Evils." Joakin calls on God to prevent evil. He also asks God to reveal what will happen to him:

Joakin & his Royal Guitar Band - Nwagbeye Ebezina


Joakin & his Royal Guitar Band - Chikereuwa Buonye Ogbugbonjo




Ibealaoke Chukwukeziri's Anti Concord/Apama (Nigerphone NXLP 011, 1988) was one of the outstanding highlife releases of the '80s, combining traditional Igbo percussion and agile guitar work. The song "Anti Concord" is actually about Aunty Concord, the singer's betrothed, whom he questions about her sincerity. He asks, "you can see that I have many new cars and a great mansion. Is it me you love, or my wealth?" He goes on to sing that some women are like a beautiful present that a man takes home, only to find snakes and scorpions inside:

Ibealaoke Chukwukeziri & his "Anaedonu" - Anti Concord

"Nara Ndomadu Chukwu" ("Accept God's Advice") tells the story of a young man named Augustine, a trader who has the opportunity to go abroad to buy goods to sell. He asks a prophetess at his local church for advice, who tells him not to go, then he asks a prophet, who tells him the same thing. He then goes to a traditional healer, who tells him to go abroad, but asks 1000 Naira for his advice. Augustine goes abroad and buys his goods, but when he comes home the Customs service check his parcels and find only newspapers inside. Augustine has lost all of his money. Now he sits in the village shooting small animals with a slingshot:

Ibealaoke Chukwukeziri & his "Anaedonu" - Nara Ndomadu Chukwu




Finally we listen to Elvis Nzebude of Amagu, Anambra State. In "Ije Awele" ("Good Journey"), from the album of the same name (Rogers All Stars RASLPS 124, 1992), Elvis sings, "Ganiru, ganiru ("go forward"), we go where there is love, we go where there is peace, we go where there is respect. Because where there is respect there is peace. Let no one wish others death. Let everyone live."

Elvis Nzebude & his Metalic Sound - Ije Awele



Many thanks to my wife Priscilla for her interpretation of these lyrics.

Saturday, August 8, 2009

The Man Behind the Music




One of the fringe benefits of doing this blog is that I occasionally hear from the musicians I write about, and their relatives. Thursday I got an email from Anthony Obianwu, the son of "Uncle" Mike Obianwu, whom I wrote about briefly in this post, reporting his death on July 20th. He was 93 years old.

Uncle Mike was not a well-known musician. He is remembered mainly for his stellar piano work on Nelly Uchendu's famous LP Love Nwantinti (Homzy HCE 005, 1976), and the great irony of this achievement is that the album was originally credited to Obianwu himself, with Uchendu playing only a supporting role. After Uchendu's acclaimed debut at FESTAC '77 in Lagos, the album was reissued with a new cover credited to "Nelly Uchendu and Mike Obianwu." Anthony tells me that his father released one other album in his own name, Crashes in Love, and I suspect he was present on other recordings as well. The other members of his band were Bassey Edim on bass and Willie Udor on drums, with Nelly Uchendu supplying vocals until her death in 2005.

Let's take a moment to remember Uncle Mike and the many other unsung heroes of African music. Here is a touching tribute in his honor by his family:

Ezennia Michael Davidson Obianwu, God saw you getting tired as your youthfulness turned gray. The days flew by as you celebrated your well lived 93years of aging memories. You were our ROCK and you will forever live in us, a befitting metaphor is your name OBIANWU. Your name will never die for we your children will carry on your legacy with every breath we draw. Your heart was so beautiful and pure, so meek and gentle, so loving and very forgiving. We became greedy, wishing you could hang around for another 93. We can now see that your every awakening and perseverance, is your way of hanging around to protect your loving family. The Almighty God knew this too, so HE wrapped his arms around you, and whispered, "COME TO ME."

You went through a journey very few can only dream about, you married your beloved wife and our mother Victoria Obianwu on December 26, 1949, and you were both rewarded with beautiful children: Chinwe, (ADA) Obianwu, Okechukwu (Diokpa) Obianwu, Ebelechukwu Obianwu, Nnamdi Obianwu, Anthony Obianwu and the most supporting group of in-laws: Amaechi Mbanefo, Cecilia Obianwu and Chilo Obianwu. Our Daddy Ezennia was also blessed with many grand children: Uchenna Obianwu, Jane Mbanefo, Patrick Mbanefo, George Mbanefo, Ifeoma Mbanefo, Adaobi Obianwu, Osita Obianwu, Nnenna Obianwu, Ebelechukwu Obianwu Jr., Odiakosa Obianwu, and Adaeze Obianwu. Ezennia is also survived by a long chain of brothers and sisters, nieces and nephews, cousins and a sea of friends and well wishers. It goes without saying that you have led a fulfilled life.

After serving proudly, fighting as a soldier in Burma during the 2nd World War with sustained injuries to show for it, you worked at the Federal Ministry of Information in Lagos and retired proudly as a senior civil service worker. Despite all this, your love for music kept shinning through. You played music at famous hotels in Lagos like Gondola and the Federal Palace, including the Presidential and Hotel Metropole in Enugu, Nigeria. You became very famous in music and touched many hearts. Your genius earned you the name "Uncle Mike Obianwu" and you recorded two albums including the award winning folk song "Love Nwantinti". You became one of the respected Agbalanze of Onitsha and was crowned with the title; EZENNIA and for this we salute you.

Daddy, you were truly an accomplished man of God. He only takes the best. This is why He has called you home to give you rest. God's garden must be beautiful, and there must be a beautiful white Grand Piano, waiting for you in heaven, to strike beautiful melodies for God's listening pleasure and for the Angels to dance to. It was no surprise that on the day of your passing, you were jovial as usual and you told us how much you loved us. You then said "Tell 'V' I love her" (meaning Mom) and asked to let you rest. Your Doctor asked if you were ready to be discharged, your answer was "YES, I AM READY TO GO HOME" and home you went, drifting gently like the wind. When we saw you sleeping so peaceful and free from pain, we could not wish you back because the Lord needs you more now than we do.

"For YOUR gift O'LORD, we will rejoice and be glad."

Rest in perfect peace, Good Bye, All Our Love is with you.

On Behalf of All of Your Children,
Chinwe, (ADA) Obianwu, Okechukwu (Diokpa) Obianwu, Ebelechukwu Mbanefo, Nnamdi Obianwu & Anthony Obianwu
Wake will be kept for Mike Obianwu August 15th at 18351 Queen Anne Road, Upper Marlboro, Maryland, 20774, and his final resting place will be Onitsha, Anambra State, Nigeria on August 29. In Uncle Mike's memory let's listen to "Love Nwantinti":

Nelly Uchendu & Mike Obianwu - Love Nwantinti/Ada Eze/Onye Nwulu Ozuluike

Sunday, July 26, 2009

Once More on Rex Lawson & Biafra




Once again our friend
Rainer has come through with an exceedingly rare artifact from the golden age of Nigerian highlife music, in this case a 10" pressing of Love "M" Adure Special, from which I posted some tracks June 21. This was apparently the first pressing, released in 1972. Or maybe it wasn't the first pressing! Rainer writes, ". . . the label says AGR002 etc. But the matrix number says (P)1970 and gives a Philips label number 6386004 as a reference (the Dan Satch is from 1969/70 and has 6386008) Why did they write 1972 on the label? Was this supposed to be released on Philips first back in 1970 but saw the light of day in 72 on Akpola!? Or am I just thinking too much?"

Apart from having a different cover and slightly different reference number (AGR 002 rather than AGB 002), this earlier iteration of Love "M" Adure Special, also on Akpola Records of Benin City, differs in several other respects from my copy. For one thing, it has 10 tracks instead of 12. Also, it includes the song "Gowon's Special," which was omitted from the later record, although it was listed on the sleeve. And for what it's worth, it's a much better pressing.

"Gowon's Special" is very interesting in that it marks Lawson's evolution from being a full-throated supporter of Biafran independence in 1968 to singing the praises of Nigerian head of state Yakubu Gowon for "keeping Nigeria one" in 1972. Listen to it here:

Cardinal Rex Lawson & his Rivers Men - Gowon's Special

I won't presume to understand Lawson's motivations for making "Gowon's Special" as well as the earlier "God Bless Colonel Ojukwu."



To help clarify things, here is the recording information for the two pressings of Love "M" Adure Special:

Cardinal Rex Lawson & his Rivers Men
Love "M" Adure Special

(10" LP; Akpola AGR 002, 1972)
A1. Love "M" Adure Special
A2. Gowon's Special
A3. Saturday Sop Di
A4. Yellow Sisi
A5. Nkpa Ke Da Owo
B1. Tom Kiri Site
B2. Wasenigbo Tua
B3. Akwa Abasi
B4. Nume Inye (Nume Alabo)
B5. Peri Special Mbanga II

Cardinal Rex Lawson & his Rivers Men
Love "M" Adure Special
(12"LP; Akpola AGB 002, 197?)
A1. Jolly Papa Special
A2. Love "M" Adure Special
A3. Saturday Sop Di
A4. Yellow Sisi
A5. Abasi Ye Enye
A6. Nkpake Da Owo
B1. Tom Kiri Site
B2. Wasenigbo Tua
B3. Ese Ayang Iso
B4. Akwa Abasi
B5. Nume Inye
B6. Peri Special
One nice thing about the original 10" LP is that it includes a listing of the musicians and summaries of the lyrics. You can download the whole album as a zipped file here.



In the comments there's been a side discussion on the question of whether records were actually pressed in Biafra during the war. I thought it was possible, even though all of the major pressing facilities were in the North and West before the war (Nigerphone may have had a plant in Onitsha). After thinking it over, and consulting the map below (click to enlarge) from John de St. Jorre's The Nigerian Civil War (Hodder & Stoughten, 1972), this seems most unlikely.

As the map shows, by October of 1968 the territory under Biafran government control had been reduced to about one sixth of what it was at Independence, and didn't include any of the major cities (Onitsha fell in March of 1968). Although the margins of the Biafran enclave changed slightly over the course of the conflict, this is where things stood until the last months before the war ended in January 1970. Therefore, any "Biafran records" would have to have been pressed outside of the country and smuggled in.



Sunday, July 12, 2009

Hailing Biafra




Note: This post was updated on October 4, 2009.

My post "Divided Loyalties" inspired an anonymous reader to make available an intriguing souvenir of the Biafran independence struggle. First Independence Anniversary Special, a 45, was issued in 1968 by the Biafra Association in the Americas, Inc. under the reference number XB-439/XB-440. The A side is "A Nation is Born," a previously-unknown-to-me song by highlife master Celestine Ukwu, while the flip side is the song
"God Bless Colonel Ojukwu" by Rex Lawson, which I featured in that earlier post under the title "Odumegwu Ojukwu (Hail Biafra)."

Anonymous poses an interesting question: While First Independence Anniversary Special was obviously pressed in the United States, were records pressed in Biafra during the war? I do know that music by Ukwu and other musicians was recorded and broadcast on Radio Biafra during the conflict, but I'm not aware of any record-pressing facilities in Biafra at the time. Of course, there is always the possibility that records were pressed abroad and smuggled into the Biafran enclave, a fraught task. Could someone shed some light on this matter for us?

Courtesy of Anonymous, here is Celestine Ukwu:

Celestine Ukwu - A Nation is Born

For some time I've been trying to get hold of another record released in the US during the war, Igba na Egwu Ndi Biafra Ji na Anu Agha: Drums and Chants of Fighting Biafra (Afro Request SRLP 5030) by the mysterious "Biafran Freedom Fighters." If anyone out there has a copy, I'm sure we'd all love to hear it.

I have an LP which was apparently put out by the same people who issued First Independence Anniversary Special. This is Biafra (Biafra Students Association in the Americas XB-149/XB-150) features an instrumental, "Hail Biafra" (the Biafran national anthem?) and a speech by Odumegwu Ojukwu on Side 1, and seven musical selections on Side 2. Unfortunately, while the song titles are given, the artists aren't credited.

I'm posting the contents of This is Biafra. "Hail Biafra" is not especially notable and the Ojukwu speech is more of a historical document, but the other tracks should be of interest to Likembe reader/listeners. I have identified "Onwu Zuri Uwa" and "So Ala Temen" as by Rex Lawson. "A Tit for Tat" is by Area Scatter, and "Onye Nwe Uwa" is by the Nkwa Wu Ite Dance Group of Afikpo (thanks to Anonymous & Vitus Jon Laurence for identifying those two). Perhaps someone could identify the other musicians:

Hail Biafra

The Struggle for Survival: H.E. Lt. Colonel Odumegwu Ojukwu, Governor of Biafra (November 24, 1967)

Cardinal Rex Lawson - Onwu Zuru Uwa (There's Death Everywhere)

Unknown Artists - Nkponam Isuhoke Owo (Misfortune Never Discriminates)

Nkwa Wu Ite Dance Group of Afikpo - Onye Nwe Uwa (Who Owns the World?)

Cardinal Rex Lawson - So Ala Temen (Nature Bestows Riches)

Area Scatter - A Tit for Tat

Unknown Artists - Akpasak Ibok, Idiok Udono (Vice is a Terrible Disease)

Unknown Artists - Thou Shalt Not Kill

I've written about the Biafran situation in previous posts, and I would recommend John de St. Jorre's The Nigerian Civil War (Hodder & Stoughton, 1972), long out of print, as an even-handed and detailed account of the conflict. This article from Wikipedia is also useful. I would say at the risk of sparking a controversy that I think the Biafran cause was a noble one, and had it succeeded, would have changed the course of African history in a positive direction. But I'm afraid Biafra's historical moment has come and gone; whatever the future of Africa has in store, an independent Biafran state will probably not be part of it.

Download This is Biafra as a zipped file here.

Sunday, June 21, 2009

Divided Loyalties




The recent dénouement of the 25-year Tamil insurgency in Sri Lanka was reminiscent in many ways of the end of the Biafran war in Nigeria in January of 1970: both of them were hard-fought popular rebellions that collapsed very suddenly. In both cases the human and economic cost was horrendous.

In its time Biafra was a cause that engaged people the world over in support of its beleaguered people. The proximate reason for the start of the war was a series of pogroms across Northern Nigeria in 1966 directed at natives of the Eastern region of the country, mainly Igbos. In response, Eastern Nigeria, under the leadership of
Chukwuemeka Odumegwu Ojukwu, seceded as the Republic of Biafra on May 30, 1967.

Sometime during the course of the war, Nigerian highlife star Cardinal Rex Jim Lawson recorded his song "Odumegwu Ojukwu," commonly known as "Hail Biafra." I'm told that this was released on Onitsha's Nigerphone label, although I have no more information about it. Given its controversial nature, it's not surprising that "Hail Biafra" was more or less banned in the post-war years, and was not on any of Lawson's five "official" Nigerian LPs. The song came to light again in the late 1990s when it was released as part of a compilation entitled Rex Lawson Uncensored: Hail Biafra (Mossiac MMCD 1036).

"Odumegwu Ojukwu" is apparently in Ijaw, so I can't give an exact translation of the lyrics, but in spoken English comments toward the end, Lawson clearly indicates his support for Biafra's Head of State. These sentiments are said to have earned his detention by Federal troops, to whom he is said to have told that he recorded the song "to uplift the rebels." Here's the song:

Rex Lawson - Odumegwu Ojukwu (Hail Biafra)

More interestingly, sometime later Lawson recorded a song in tribute to Isaac Jasper Adaka Boro, who not only had led an earlier separatist rebellion in the Niger Delta (the so-called "Twelve-Day Revolution") but died fighting on the Federal side against the Biafran separatists. Boro was an ardent defender of the interests of his Ijaw people, and by some accounts his sentiments toward the Igbo (who predominated in Biafra) were chauvinistic bordering on racist. Such are the dynamics of ethnic politics in southeastern Nigeria! "Major Boro's Sound" was included on the album Rex Lawson's Victories Vol. 2 (Akpola AGB 003) and is also featured on Rex Lawson Uncensored: Hail Biafra:

Rex Lawson - Major Boro's Sound

If there was one thing Rex Lawson wasn't, it was a narrow-minded tribalist. A true cosmopolitan, he had an Ijaw father and and Igbo mother, and his Majors Band (later The Rivers Men) included musicians from various ethnicities. He sang in all of the languages of southeastern Nigeria. Some years ago a fellow named Ofon M. Samson emailed me with English-language summaries of some of the songs on Lawson's LP Love "M" Adure Special (Akpola AGB 002, below). I believe the original songs were all in Efik. In the first of these, "Saturday Sop Di," Lawson sings that he wants Saturday to hurry up and arrive:

Cardinal Rex Lawson & his Rivers Men - Saturday Sop Di

"Abasi Ye Enye" was supposedly written after Lawson had lost a child. He sings, "Whoever killed my child, God will see him or her":

Cardinal Rex Lawson & his Rivers Men - Abasi Ye Enye


"Tom Kiri Site" means "The World is Bad":

Cardinal Rex Lawson & his Rivers Men - Tom Kiri Site

"Ese Ayang Iso" is about a leper, about whom Lawson sings, "ese Ayang iso, kuse ikpat," meaning "look at Ayang's face not her feet because she has a disease":

Cardinal Rex Lawson & his Rivers Men - Ese Ayang Iso


"Akwa Abasi" means "Almighty God." Lawson quotes John 3:16, ". . .For God so loved the world that he gave his one and only Son, that whoever believes in him shall not perish but have eternal life."

Cardinal Rex Lawson & his Rivers Men - Akwa Abasi

In "Nkpa Ke Da Owo," Lawson sings about death taking someone away. During the break one of the band members asks, "Death why have you taken our master? Who is going to lead us?." A prescient question, given that Lawson would die in 1971:

Cardinal Rex Lawson & his Rivers Men - Nkpa Ke Da Owo


Sunday, March 22, 2009

Africa Roots Vol. 4




I'll be out of town for a week and don't expect to be able to blog, but I wanted to get something in, so this one's a quickie.

I never managed to snag Vols. 1-3 of the legendary Africa Roots series, recorded at the Melkweg in Amsterdam in the early '80s. I did get hold of the fourth and final (?) installment, and what a wonderful recording it is!

Click on the picture below to read about the artists and the songs. The standout here is Mali's legendary Salif Keita along with the equally fabled Kante Manfila and Ousmane Kouyate, who deliver a scorching rendition of the Ambassadeurs classic "Primpin." Senegal's Baaba Maal, Algeria's Cheb Mami, Angola's Bonga and A.B. Crentsil from Ghana don't disappoint either with inspired renditions of some of their greatest songs. It's all good!

Listening to these tracks will take some of you back to the exciting days of the '80s when every day brought a new revelation for us African music fans and World Music™ had yet to be conceived. Enjoy!

Salif Keita & Les Ambassadeurs - Primpin

Baaba Maal & l'Orchestre - Dental

Baaba Maal & l'Orchestre - Yela

Baaba Maal & l'Orchestre - Lomtoro

Cheb Mami - Sanlou Ala Enabi

Bonga - Kua' Sanzala

Bonga - Camin Longe

A.B. Crentsil - Osokoo

A.B. Crentsil - Atia


A.B. Crentsil - Ahurusi




Wednesday, March 11, 2009

Navigating the Boundary Between Highlife and Jùjú




There's been a lot of good jùjú on the Internets lately - from Comb & Razor here and here, Worldservice here and here, and at Snap, Crackle & Pop here - so I figured why shouldn't I get into the act? Besides, it's been a while since I posted some good old Yoruba Soul Music.

I can tell you very little about Ade Wesco and his Destiny Dandies. Wesco rates a brief entry in Ronnie Graham's The World of African Music (Pluto Press/Research Associates, 1992) where his sound is described as ". . . highlife enriched with traditional percussion and distinctly Yoruba vocals." The label of his LP Aye Wa Adun (Ibukun Orisun Iye MOLPS 35, 1976) describes the contents as "jùjú," and judging by that album at least (the only one by him I've heard, although he released a number of others) his music is a true synthesis of the two styles, much like that of Orlando Owoh.

Be that as it may, you can decide for yourself. Here's the album in full. It's fine, fine stuff:

Ade Wesco & his Destiny Dandies - Aye Wa Adun/Adun ni Gbehin Ewuro/Ibukun Orisun Iye/Tiwa ni Tiwa

Ade Wesco & his Destiny Dandies - Ogo ni Fun Baba Loke/Irawo Wa Ntan Loke/A Dupe Baba Wa/Bayi Loda/Amariran Wo/Oniyeye


Thursday, February 26, 2009

It's Highlife Time




I've been on a Ghana kick lately, digging out a lot of semi-forgotten vinyl in my collection that I haven't listened to in years. I know you won't mind if I share it with you!

Other than falling under the general rubric "Ghana Highlife," the tunes in this post don't follow any particular theme - I more or less pulled them out at random. There's the classic danceband sound and the more stripped-down guitar highlife style, and even an example of the controversial "Burgher" highlife genre. I've left for future posts some of the big names - the African Brothers, Alex Konadu, A.B. Crentsil and Jewel Ackah - as well as the multitude of Ghanaian artists who made careers in Nigeria during the '70s and '80s.

Yamoah's Guitar Band, based in Kumasi and led by Peter Kwabena Yamoah (right), emerged from the Ghana concert party scene in the 1950s and has been one of the most influential Ghanaian music outfits ever since, which makes its lack of recognition outside Ghana all the more unjust. Nana Ampadu of African Brothers fame got his start there, as did guitarist Smart Nkansah and the sublime vocalist Agyaaku, who later formed the Sunsum Band (more about which later). I'm not sure when Yamoah's Special (Motorway MTL 3001) was released, nor does it feature any credits, but I suspect it came out in the early '70s and does feature Nkansah and Agyaaku. "Saa Na Odo Te/Otan Gu Ahorow" is a killer track, and "Suro Nea Obesee Wo" is almost as good:

Yamoah's Band -
Saa Na Odo Te/Otan Gu Ahorow

Yamoah's Band -
Suro Nea Obesee Wo

Pat Thomas served as a vocalist with the Broadway Dance Band, the Stargazers and the Uhurus before False Lover (Gapophone GAPO LP 02, 1974) introduced him to the world fronting the Sweet Beans, official band of the government Cocoa Marketing Board. He went on to became one of Ghana's most popular vocalists, and while his star has dimmed somewhat since, his sweet voice and sparkling arrangements are hard to forget. Not content to dip his toes in the reggae sound then sweeping Africa, Thomas jumps in head-first in the first four songs on False Lover, notably this one:

Pat Thomas & the Sweet Beans - Revolution

The rest of the album, billed as an attempt to revive the danceband sound, succeeds admirably:

Pat Thomas & the Sweet Beans - Don't Beat the Time

Pat Thomas & the Sweet Beans - Merebre

Pat Thomas & the Sweet Beans - Wabe Aso



I mentioned in my last post The Guitar and Gun (Sterns Earthworks STEW 50CD, 2003), which collects tracks from The Guitar and the Gun Vol. 1 (Africagram A DRY 1, 1983) and The Guitar and the Gun Vol. 2 (Africagram A DRY 6, 1985) John Collins' groundbreaking collections of Ghana highlife. Inexplicable to me is the exclusion of the African Internatonals' "Noko Nya M'akire" from Vol. 1, probably the best track on either record. To correct this oversight, I make it available here:

African Internationals - Noko Nya M'akire



Smart Nkansah and Agyaaku became friends when they were part of Yamoah's Band in the late '60s. A few years later Nkansah went his own way, eventually forming the immortal Sweet Talks Band with A.B. Crentsil in 1975, which recorded such classics as Adam and Eve and Hollywood Highlife Party before falling apart.

Nkansah & Agyaaku later reunited to form the Black Hustlers before founding the Sunsum Band in 1981. Their album Odo (Love) (ASA Records ASA 1001, 1984) features an exciting blend of guitar highlife, the classic danceband sound and the vocal stylings of Becky B, Smart Nkansah's sister-in-law. The title track was included in my compilation African Divas Vol. 1. "Mensee Madwen" is a medley from Side 2 of the LP:

The Sunsum Band - Mensee Madwen



Over the years thriving Ghanaian communities have developed in the United Kingdom, Canada and the U.S. Interestingly, because of relatively liberal immigration laws at the time, a sizable Ghanaian population emerged in Germany during the 1970s, and this community gave birth to the so-called "Burgher" highlife phenomenon.

Excoriated and loathed by purists, Burgher highlife, along with Hiplife, has come to define the modern-day highlife sound in Ghana. George Darko's "Akoo Te Brofo," released in 1983 with its funkified beat and heavy reliance on electronic instrumentation, is generally considered the first Burgher highlife hit. Musicians like Kantata, Rex Gyamfi and McGod were quick to follow in Darko's footsteps.

Charles Amoah's Eyε Odo Asεm (Cage Records 01-18957, 1987) is pretty much your archetypal Burgher highlife record, recorded in Dusseldorf and featuring mainly German musicians, German producers, even a German art director! Amoah himself started out playing straight-ahead highlife music in the '70s with the likes of the Happy Boys led by Kwabena Akwaboah and Alex Konadu's Band. He ended up in Germany in the late '70s where he bounced around various bands before releasing Sweet Vibration in 1984, the first of his many hit records.

Amoah has since returned to Ghana, where he has a prosperous career touring and recording. Here's a tune from Eyε Odo Asεm:

Charles Amoah - Di Ahurusi



If you'd like to hear some more contemprary examples of Burgher highlife, go here. Many thanks to Akwaboa of Highlife Haven, who provided useful information.

Friday, February 20, 2009

Exploring Ga Cultural Highlife




I often tell Priscilla that if I leave this mortal coil before her and she's hard up for cash, she can raffle off my record collection on Ebay. Some of the prices people are getting for their old African vinyl are astronomical and mind-boggling. $300 for a scratchy old disco record by Christy Essien-Igbokwe? Come on, people!

Some of you may remember the old alt.music.african usegroup back when the internet was first catching on big-time (and is it still around?). I used to be a pretty active participant back around 1998. At one point a record dealer in North Carolina or some place posted a list of some records he wanted to unload. This guy didn't specialize in African music but he had come across about twenty or so primo West African pressings that he was auctioning off to the highest bidder. There were a few Fela records, a couple of Sonny Okosuns, and most intriguingly, a number of LPs labeled "tribal vinyl from Ghana." I hadn't heard of any of the artists mentioned, but the minimum bid was $5, so what did I have to lose?

As the auction proceeded over the next week, it became apparent that while there was a healthy interest in the Fela and Okosun records, I was the only person who wanted the Ghanaian LPs, so I obtained these mint-condition pressings for five dollars each!

On first listen it was obvious that I had come into possession of some rare gems. These records were in a style about which I had heretofore known very little, "Ga Cultural Highlife," a mainly acoustic, perscussion-based genre described by musicologist John Collins as originating in the early '70s among the Ga people around Ghana's capital city Accra.

A record reviewer I read once made a derisive reference to Ghanaian "Jug Band Music." I think she was referring to those Makossa Records pressings that came out in the late '70s (and if you've been collecting for a while, you know what I'm talking about), but the label could more accurately describe these wonderful recordings.

Take the Suku Troupe, whose home-made instrumentation and heartfelt enthusiasm blow some of the more professional highlife combos out of the water! The group was founded in 1976 by Nene Acquah and featured vocalist Maa Amanua (above left), quickly achieving fame throughout Ghana and other parts of West Africa. Here are two tracks from their second album, Ye Wanno Komm (Donno WADLP 002, 1978):

Suku Troupe - Awonye Lee

Suku Troupe - Hwe Wo Ho Yie

I've been unable to find out anything about the Ashiedu Keteke Cultural Group led by Nii France, but here's some wonderful music from their 1978 album Gbo Ofo Mino (Polydor 2940 015):

Ashiedu Keteke Cultural Group - Ake Me Aya

Ashiedu Keteke Cultural Group - Edo Mi



Likewise the background and history of the Adzo Troupe, led by Amartei B.C., are a mystery to me, but listen to these tunes from their 1979 LP Siolele (Essiebons 1277938). Interestingly, the group was managed by Stan Plange, who also led the popular Uhuru Dance Band back in the day:

Adzo Troupe - Siolele

Ado Troupe - Kerodze



Akwwetey Wallas had a peripatetic musical career before founding the Gaamashiebii Cultural Troupe in the mid '70s, starting out in the band led by his brother Oko Jack Bay. He went on to join the Obadzen Cultural Troupe led by Renaissance man Saka Acquaye. His musical itch then led him to found the Blemabii and Obuabedii Cultural Troupes in quick succession.

The liner notes of Gamashiebii's debut LP Ebaa Gbeee (Obuoba JNA 10) state,". . . For its twelve months of existence the Gamashibii Cultural Troupe has established itself as one of the best exponents of traditional music and has therefore earned it a participating place in most social activities in the Gamashi area. . . It cannot be gain said that this musical masterpiece will for some time come to liven up many homes." Hear for yourself!

Gamashiebii Cultural Troupe - Wuobi (Akroma)

Gamashiebii Cultural Troupe - Faale Ke Mi Ya (Pt. 2)



Of all of the groups featured in this posts, Wulomei, led by Nii Tei Ashitey, is the only one that has achieved a measure of fame outside of Ghana. Indeed, the name in practically synonymous with Ga Cultural Highlife. Under the name Sensational Wulomei, the group is still in existence and still perforforming in the Accra area after 36 years.

Here's some music from Wulomei's 1978 album Kunta Kinte (Philips 6354 022):

Wulomei - Aplanke

Wulomei - Kwani Kwani



By the way, if you like the music in this post, I can't recommend enough The Guitar and Gun (Sterns Earthworks STEW 50CD), which puts back into circulation John Collins' seminal highlife recordings from the early 80s. It's not all Ga Cultural Highlife, but it's all wonderful.

Friday, January 30, 2009

Red Spots, Black Beats and Stargazers




Reader/listener Malam Bala, in a recent comment, reminded me that this blog is long overdue for a posting of good old Ghana highlife music. And what better way to correct this oversight than to post the LP Akom Ko (Decca WAP 281)? This fine compilation features the down-home sounds of guitar highlife on Side One, while Side Two showcases the more sophisticated danceband sound.

Back in the 1990s John Storm Roberts' Original Music label released a series of
Ghana highlife CDs that are eagerly sought out by African music aficionados, being as they are long out of print. Giants of Danceband Highlife (OMCD 011, 1990), I've Found My Love: 1960's Guitar Band Highlife of Ghana (OMCD 019, 1993) and Telephone Lobi: More Giants of Danceband Highlife (OMCD 033, 1995) cover much of the same musical territory as Akom Ko, but there is very little duplication of the music itself. So, if you are fortunate enough to own any of the Original Music compilations, consider this another volume in the series.

I suspect these recordings were made in the 1960s or at the very latest, the early 1970s, but Akom Ko itself was apparently pressed sometime in the '70s. I've tried to find out as much about the musicians as I could, but some artists, as talented as they are, dwell in obscurity. I'm passing on what information I have. If you'd like to pursue further studies, John Collins' "Musicmakers of West Africa" (3 Continents Press, 1985) is a good place to start, as well as a number of very informative articles he's written for Afropop Worldwide.


Royal Brothers - Anamon Nsiah

Boaken Stars - Medze M'awerεho Bεko

Bob Kwabena Akwaboah, founder of the band that bears his name, passed away January 2, 2004, leaving a legacy of numerous hit songs and LPs recorded during the 1960s and '70s. His son, Kwadwo Akwaboah, founded the Marriots International Band, which had a burst of popularity in the early 1990s:

Akwaboah's Band - Osu a Mesu

Awesome Tapes From Africa calls Yamoah "one of the greatest highlife singers ever," and I don't doubt it. I've been unable to find out much about this musician and his band, other than the fact that Nana Ampadu, founder of the African Brothers Band and a giant of the 1970-80s highlife scene, got his start with them:

Yamoah's Band - Nkrabea

Oppong's Band - Assaase Nkyiri Fun

Akwaboah's Band - Adeakye Abia

M.K. Manson - Nkokohwedeε Mienu

The Black Beats Dance Band was founded in 1952 by King Bruce and Saka Acquaye. Bruce, born in 1922, had already played with a number of the giants of the Ghana danceband scene like E.T. Mensah and Kofi Ghanaba, and the Black Beats were a very influential group for their time, recording innumerable hits and giving birth to several other outstanding orchestras including Jerry Hanson's Ramblers Dance Band and Acquaye's African Ensemble. A very informative article about King Bruce and the Black Beats by John Collins can be found here:

Black Beats - Medo Wo Sε Wote Yi Ara

The Red Spots, popular from the '50s through the '70s, were founded by Tommy Gripman, who got his start in E.T. Mensah's Tempo's Dance Band:

Red Spots - Oyε a Kae Me

The Broadway Dance Band, based in Sekondi-Takoradi, was led by a Nigerian trumpeter, Sammy Obot and included many great musicians like Stan Plange, Joe Mensah and Duke Duker. Following a legal dispute in 1964, it changed its name to the Uhuru Dance Band and continued to play a vital role in the Ghana music scene until the Seventies:

Broadway Dance Band - Menua

Black Beats - Anibre Sεm

Stargazers Dance Band - Owu Ayε Me Ade

Black Beats - Me Yε Ayera



Update: Akwaboah, who hosts the excellent new blog Highlife Haven, writes: ". . . please let me correct your remark about Kwabena Yamoah: he is the bandleader and guitarist, not the singer. The 'treble singer' on Yamoahs albums is the great Agyaku, who later recorded with Eric Agyeman and Smart Nkansah's Sunsum Band." Thanks, Akwaboah!

Tuesday, January 27, 2009

The Anioma Sound Pt. 2




As I wrote in "The Anioma Sound Pt. 1," the Anioma region comprises the Igbo-speaking areas of Delta State in Nigeria. The name is a actually an acronym derived from the regions of Aniocha, Ndokwa, Ika and Oshimili, and was coined by the late
Dennis Chukude Osadebay, one of the founders of the National Council of Nigeria and the Cameroons, and former premier of the old Mid-Western Region of Nigeria.

Continuing our look at the music of this area, we start off with a couple of old-timers of the Anioma scene, ending up with some newer artists.

Ndokwa native Charles Iwuegbe may be familiar to those who have heard the wonderful compilation Azagas & Archibogs: The Sixties Sound of Lagos Highlife (Original Music OMCD 014, 1991), now sadly out of print. As that title implies, he was a stalwart of the pre-Biafra highlife scene in Lagos, when musicians of all ethnicities kept the night alive with their wildly inventive sounds. I give my thanks to Anioma music fanatic "Ubulujaja," who passes on this classic tune, "Ejelunor," from Iwuegbe's LP of the same name (Decca West Africa DWAPS 04), as well as Eddy Okonta's "Anioma" in "The Anioma Sound Pt. 1."

Charle Iwuegbe & his Hino Sound - Ejelunor

Perhaps you remember St. Augustine from my posting of Rusted Highlife Vol. 1. Hailing from Asaba, his career took off in 1971 with the release of "Ashawo No Be Work." From a bit later in his career, namely the early '80s, here's a track from Anioma Special (Offune OFLPS 1):

St. Augustine - Evidence Special

As I promised in this post, I've got another tune for you from Aboh's incomparable Ali Chukwuma. Here's the title track from 1982's Ife Oma Dimma (Akpolla AGB 50):

Ali Chukwuma & his Peace-Makers International Band of Nigeria - Ife Oma Dimma

Guitarist Bob Fred shows up in all manner of recordings by Anioma artists, notably those of Rogana Ottah, but he's made a number of LPs on his own with his Ukwuani Brothers Band. Here's a cut from the album Egwu Amala Special (Ojikutu OJILP 032, 1982):

Bob Fred & Ukwuani Brothers Band - Ochinti



About the Mmadu Osa International Band, led by Ikechukwu Izuegbu, I know absolutely nothing, but they put out a number of LPs back in the '80s. "Ele Onye Keni" is taken from their 1983 outing Aboh Youth Progressive Union (Izuson IZULP 006)":

Mmadu Osa International Band - Ele Onye Keni

I've saved the best for last! I've heard a rumor, which I've been unable to confirm, that Rogana Ottah (picture at the top of this post) passed away a couple of years ago. What a shame that would be, as he's been the primo exemplar of the Anioma music scene. As I wrote in the introduction to my discography of him, ". . . Guitarist Isaac Rogana Ottah, 'The Oshio Super King,' a prolific artist from Akoku, Ndokwa LGA, Delta State, is one of the better-known Anioma musicians. His musical career began in the early 1970s when he played in the bands of Chief Stephen Osita Osadebe and Rex Lawson. In 1973 he joined fellow Ndokwa native Charles Iwegbue and His Hino Sound Band. Striking out on his own after Iwegbue's tragic death in 1976, Ottah scored a major hit with his first LP, Ukwani Special, in 1977. In quick succession a series of outstanding recordings, notably the 'Oshio Super series, propelled Ottah to the vanguard of the Anioma recording scene. Although his career has slowed since the 1980s, he still makes a prosperous livelihood as a touring musician and continues to make recordings. "

"Onyeluni Isu Ogaga," from the 1981 LP Oshio Super Two "Onyeloni" (Odec ODEC 003) is an absolute scorcher that showcases Ottah's brilliant guitar work to great effect.

Rogana Ottah & his Black Heroes - Onyeluni Isu Ogaga



I hope to provide translations of the lyrics of these songs in the future.

Sunday, January 25, 2009

The Anioma Sound Pt. 1




The Igbo people live in all parts of Nigeria, but are the big majority of the population (over 90%) in five states: Imo, Anambra, Abia, Enugu and Ebonyi. They also constitute large minorities in Rivers and Delta States.

The "Anioma" area consists of the northeastern corner of Delta State encompassing the Aniocha, Ukwuani and Ika peoples. These three ethnicities are all considered subgroups of the Igbo, as opposed to Delta's other nationalities, the Urhobo, Itskiri, Ijaw and Isoko, who speak distinct languages. Anioma Igbo are set apart from the mainstream of Ala Igbo not only by the Niger River but by varying shades of cultural influence from their neighbors to the west and south.

The idea
, if not necessarily the name, of "Anioma," as a community and a culture predates the creation of the modern Nigerian state in 1914. In the early 20th Century the area gave rise to the Ekwumekwu movement, which resisted the imposition of British colonial rule in southern Nigeria. In the early '80s, the Anioma State Movement arose to call for the carving out of a new Igbo-majority state from old Bendel State. Since 1991, when Bendel was divided into Edo and Delta States, the demand for Anioma State has continued at a low boil. The map below shows where the various ethnicities of Delta State reside (click to enlarge):



It's hard to say if there is a distinct "Anioma Sound," despite the title of this post. One might discern a certain directness to the music of the area, as opposed to the relative subtlety of Igbo music east of the Niger, but I stress the relative nature of this comparison. After all, no one would call the music of Owerri's Oriental Brothers subtle!

The best-known Anioma musician is probably Ali Chukwuma, but the area has produced numerous artists who have achieved fame across Nigeria. Eddy Okonta of Akwukwu (left) is one of the foremost of these. He got his start with Bobby Benson's band and played trumpet on the great maestro's biggest hit, "Taxi Driver," before striking out on his own. In "Anioma," from his album Page One '81 (Phonodisk PHA09), Okonta throws his lot in with the movement to create Anioma State. ". . . Ours is ours and mine is mine. . .We pray to God so that we may achieve this. . .":

Eddy Okonta - Anioma

King Ubulu (picture at the top of this post) is another name that comes up frequently when discussing Anioma music. He was born in 1949 in Amoriji-Onitcha in the Ndokwa area, and formed his Ubulu International Band in the 1970s. He died in 2004. Here is a tune from his LP Ubulu '84 Special: Anyi Bu Ofu (Isabros ISAL 026, 1984). "Ogom Egbu Madu" means "my favor for you should not kill me":

Ubulu International Band of Nigeria - Ogom Egbu Madu

I mentioned in this post that I'm aware of only two female singers in the Igbo highlife genre: Nelly Uchendu and Queen Azaka. Why this should be, I don't know, and I can tell you very little about Queen Azaka, other than that, like King Ubulu, she is from the Ndokwa area. Here's a tune from her LP Umuwa Nweni Ndidi (Odec ODB 10L). I find the rhythm on this tune and the next couple interesting. And sorry about the skipping at the beginning of the tune. Bad warp!:

Queen Azaka & her Ebologu Abusu Mma Dance Band - Ukwani Amaka



Chief John Okpor may be just another obscure musician from the recesses of Delta State, but he's made a great recording here. Side One of Ife Nunoku Na Ju Oyi (Franco Records FMCL 003) doesn't let up until about two-thirds of the way through, when the title track segues into the slower-paced "Egwu Nde Oma."

Chief John Okpor & the Golden Tones Band of Nigeria - Ife Nunoku Na Ju Oyi/Egwu Nde Oma

When Priscilla was back home in Nigeria in 1989, she saw the band members unloading boxes of this LP out of the back of a truck. Of course, she knew I'd want a copy, and what a discovery it is! Eric Obodo heads up the Reformed Eti-Oma Dance Band, and their fast-paced sound is reminiscent of the Camerounian bikutsi style exemplified by groups like Les Veterans. The album is Ogbuefi Moses Okom (Mone MRLP 008).

Reformed Eti-Oma Dance Band of Nigeria - Onyeke Muni Nwa



This post has been delayed because Priscilla and I just haven't had time to sit down and do translations of the lyrics (the fact that these songs are mainly in the Ukwuani dialect makes this more difficult), so I'm just going ahead and posting anyway. If there is time I will update it later. In "The Anioma Sound Pt. 2" I'll be posting songs by Charles Iwegbue, Roganna Ottah and others.

Tuesday, December 30, 2008

Gospel Highlife from "New Calabar"




As you may have noticed, I've been writing quite a bit lately about the music of Nigeria's "Eastern Minorities." By this I mean the non-Igbo ethnic groups that comprised about 40% of the population of the old Eastern Region of Nigeria that existed from 1954 until 1967. In 1967 the East attempted to separate and form the independent Republic of Biafra. For the most part the minorities - the Ijaws, Ogonis, Efiks, Ibibios and so forth - supported the Federal Government in that conflict, and since they occupied the coastal areas this was a decisive factor in the defeat of the Biafran cause in 1970.

One of the biggest names of classic Nigerian highlife, Erekosima Rex Lawson, was the son of an Igbo mother and an Ijaw father from Buguma, in the "New Calabar" region of present-day Rivers State, and thus is claimed as a native son by both groups. New Calabar is said to have been settled by Efiks from Calabar in present-day Cross River State, but its language, Kalabari, is in fact a dialect of Ijaw. Lawson sang in this language and Igbo, as well as other tongues of Nigeria, making him beloved across the country.

Buguma produced another highlife musician, Emperor Erasmus Jenewari.
A retiring and urbane man, Jenewari's career was somewhat overshadowed by that of the great Lawson. In the years before the Biafra war he was based in Onitsha, where he recorded numerous hits like "Abari Nyanawa," "Oteke," "Opa Iweriso," and the evergreen "Odenigbo."

Following the war Jenewari seems to have forsaken secular music altogether, and devoted himself strictly to Christian devotional music with his group the Gospel Bells (shown at the top of this post; Jenewari is in the middle of the bottom row). Here are tunes from two of his gospel albums, Tamuno Belema (Philips 6361 168, 1976) and Joy Hallelujah (Polydor POLP 081, 1982). Listening to these lovely songs takes me back to eastern Nigeria, where the sound of gospel music is omnipresent.

"Tamuno Ne-Giye Ofori" and "Ichoro Onu" from Tamuno Belema are reminiscent in so many ways of Celestine Ukwu's brilliant album Ejim Nk'onye (Philips 6361 111, 1975). It's hard to say for sure, as there are no credits on either LP, but I suspect they share a set of backup musicians. The lyrics of the first song are simplicity itself: "There's nothing greater than God," repeated in the major languages of Nigeria. I detect Ijaw, Igbo, Yoruba and Hausa in the mix and there are probably several others as well:

Erasmus Jenewari & his Gospel Bells - Tamuno Ne-Giye Ofori

Erasmus Jenewari & his Gospel Bells - Ichoro Onu

"O Tamuno Boma/Ona Som" and "Joy Hallelujah" are from Joy Hallelujah. "Joy Hallelujah" was the most important hit of the gospel phase of Jenewari's career:

Erasmus Jenewari & his Gospel Bells -
O Tamuno Boma/Ona Som

Erasmus Jenewari & his Gospel Bells - Joy Hallelujah


I understand that Erasmus Jenewari passed on a number of years ago without much fanfare even in Rivers State, a sad commentary.

Many thanks to Eji I. Nwuke, who provided me with much of the information used in this post.