Recorded in the early '70s, this is fast-paced jùjú in the style that was popular then, and quite similar to the recordings of King Sunny Adé from the same era. Enjoy!
Monday, August 13, 2018
Recorded in the early '70s, this is fast-paced jùjú in the style that was popular then, and quite similar to the recordings of King Sunny Adé from the same era. Enjoy!
Sunday, July 22, 2018
Alhaji Adamu Wayya (his nickname "Dan Maraya Jos" means "the little orphan of Jos") was born in Bukuru, a suburb of Jos, Plateau State, Nigeria in 1946. As both of his parents died when he was young, he was adopted by the Sarkin Hausawa, or Emir, of Bukuru, for whom his father was a court musician. It was under the tutelege of the Emir that Adamu Wayya made the acquaintence of local musicians, traveling and becoming a master of the kuntigi, the Hausa one-string lute. His Wikipedia entry states:
The kuntigi is a small, single-stringed lute. The body is usually a large, oval-shaped sardine can covered with goatskin. Dan Maraya and other kuntigi players are solo performers who accompany themselves with a rapid ostinato on the kuntigi. During instrumental interludes they repeat a fixed pattern for the song they are playing, but while singing, they will often change the notes of the pattern to parallel the melody they are singing.
Like most professional musicians, the mainstay of Dan Maraya's repertoire is praise singing, but Dan Maraya singles out his personal heroes rather than the rich and famous. His first, and perhaps still his most famous song is "Wak'ar Karen Mota" ("Song of the Driver's Mate") in praise of the young men who get passengers in and out of minivan buses and do the dirty work of changing tires, pushing broken down vans, and the like. During the Nigerian Civil War, he composed numerous songs in praise of soldiers of the federal army and incorporated vivid accounts of scenes from the war in his songs.Dan Maraya's music promoted family and social values as well as national unity. He campaigned for polio vaccination and was politically active as well, performing on behalf of President Goodluck Jonathan's People's Democratic Party in the 2015 elections. He passed away June 20, 2015 in Jos. On the occasion, his good friend Ladan Salihu, Director General of the Federal Radio Corporation of Nigeria, declared:
Here's a musical offering from this immortal poet, the 1986 LP Kudi Masu Gida Rana (Polydor POLP 151). I'm unable to tell you anything about the songs or their lyrics. I hope you'll enjoy it.
Inaa Lillaahi Wa Innaa ilaihir raaji’un. One of Nigeria’s foremost Hausa musicians, poet, philosopher and philanthropist, Dr Adamu Danmaraya Jos has answered Allah’s call about an hour ago. He died in Jos after a protracted illness. When I visited him two weeks ago, he spoke passionately about the Unity of the North and of one Nigeria. We shared many moments. He was to me a brother and a friend. I am devastated. But I am proud he lived a very useful life, transforming society through music and silently through Islamic endeavours. May Allah grant him Aljannatul Firdaus. Jos was a poet and griot, and his music was often laced with philosophy and drama.
Update: Many thanks to Richard Graham for bringing this to my attention:
Saturday, May 12, 2018
Nigerians are known for songs extolling their mothers, notably Prince Nico Mbarga's famous "Sweet Mother." In honor of Mothers' Day 2018, here is Mamma (Ivory Music IVR 057), a cassette by jùjú maestro Dayo Kujore, who was featured a few months ago on this blog. Enjoy!
Dayo Kujore - Toju Yeye / Iya Lolugbowo Mi / Omo Unmoti / Iya Mi Ose / Mother
Dayo Kujore - Fi Wa Jomi / Oruko Jesu / Awa De / Darling My Lover / Fans' Rhythm Special
Download Mamma as a zipped file here.
Sunday, May 6, 2018
Dunni Olanrewaju & Golden Voices - Ayo Re Mbo
Wednesday, April 4, 2018
I have long been astounded at the sort of prices some African music fans are willing to pay for scratchy old vinyl from the Continent - and in this case, not even vinyl, but a no-doubt-inferior cassette version of same! It puts one to mind of the 17th Century tulip mania.
But you don't need $850 to listen to this recording. The blog Snap, Crackle & Pop posted it a few years back and you may have grabbed it then (the link to the file is now broken). And now I'm posting it again. You can have it for free!
What's doubly confusing is that the tracklist on Vintage doesn't even agree with that of Master Guitarist Vol. 5. In fact, the listings on the sleeve and record labels on Vintage don't agree either. But they are indisputably the same recording. In fact, I think Vintage is not even a "pirate" pressing - it was apparently officially licensed and legitimately issued.
If all you have heard of King Sunny Adé is his recordings from the '80s and later, Master Guitarist Vol. 5 may come as something of a revelation. The Green Spots were Adé's first band, founded in 1967 after he left Moses Olaiya's Federal Rhythm Dandies, and their sound is not as dense and "sophisticated" as that of the later African Beats. Sunny Adé's brilliant guitar work, of course, shines through loud and clear.
Here's Master Guitarist Vol. 5. I'm following the tracklisting from that pressing, and not that from the later Vintage King Sunny Adé. Enjoy!
Sunny Adé & his Green Spots Band - Late Dr. Nkrumah / Ka Ma Buni Lole / I. S. Adewale / Ololade Wilkey
Sunny Adé & his Green Spots Band - Sunny Special / Owo Ko Nife / Awon Ti Won Yo / Alhaja Bintu
Download Master Guitarist Vol. 5 as a zipped file here. I've included scans from Vintage King Sunny Adé also. The record sleeve scans of Master Guitarist Vol. 5 are from Snap, Crackle & Pop. Thanks!
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.
Saturday, February 17, 2018
It's about time we returned to Ihiagwa, just outside of Owerri, capital of Imo State, Nigeria and home of the Obi Wuru Otu Dance Group, led by Madam Maria Anokwuru and featuring the stellar vocals of Rose Nzuruike!
On January 24, 2010 I posted their hit LP Nwanyi Ma Obi Diya (Onyeoma C.Y. Records CYLP 016, 1984), one of the biggest-selling Igbo records of all time. I've since found out more about the group and its star, Madam Nzuruike (thanks, internet!). A collective endeavor by all eight of the villages that comprise Ihiagwa township, the group was founded in 1979 as the Ndom Ihiagwa Dance Group. Mrs. Rose Nzuruike was selected from her village, Umuemeze. She initially demurred as her husband had recently passed away and she had young children to care for. However, she reconsidered when her late husband Remy came to her in a dream and urged her to perservere. She was then judged the best, and hence lead, singer of the group, a role she has fulfilled ever since.
I now present Ezi Nne (Onyeoma C.Y. Records CYLP 047), a further exploration of Igbo roots music, Owerri style!
The insistent beat of the udu (bass drum) leads off Side One and the song "Ezi Nne" ("Good Mother"). Mrs Nzuruike sings that there is no substitute for one's mother, whether she is good or bad, and the chorus joins in agreement. In the second song, "Onye Egbula Onwe Ya" ("Don't Kill Yourself") we are implored not to stress over money problems and so forth, we'll only get sick and it won't solve the problem:
Obi Wuru Otu Dance Group - Ezi Nne / Onye Egbula Onwe Ya
"Anala Nwa Ogbenye Ihe Ya" ("Do Not Take Advantage of the Poor and Weak") opens Side Two. "Jehovah, come help us. To sin is human. Please help us." The second song is "Enyere Ibe Nyem" ("When You Give to My Peers You Give to Me Also"):
Obi Wuru Otu Dance Group - Anala Nwa Ogbenye Ihe Ya / Enyere Ibe Nyem
By the way, Onyeoma C.Y. Records, which issued these two Obi Wuro Otu albums and at least one other, Aku Ebi Onwu (CYLP 028), was one of the more interesting smaller Nigerian labels, specializing in roots music like this as well as Ghanaian highlife bands resident in Nigeria. In 1995 I paid a visit to their office in Onitsha with the intention of perhaps licencing music for release in the US. No one was there, so I left a note under the door. Several months later I received a letter from the proprieter of the label, who was definitely interested! However, lacking the proper entreprenurial spirit, I suppose, I never pursued the idea. Oh, well!
Download Ezi Nne as a zipped file here. Many thanks as usual to my wife, Priscilla, for interpreting the lyrics. The website of Ihiagwa Township is a fascinating resource which was quite useful in researching this post.
Tuesday, February 13, 2018
"Wonder" Dayo Kujore, born in 1958, is another exponent of the new jùjú sound. Like Shina Peters, he served his apprenticeship in the band of Prince Adekunle, playing lead guitar on some of the maestro's biggest hits. Kujore soon left to form his own group, but it wasn't until the early '90s that he really made a mark with albums like Super Jet, Easy Life and today's offering, 1993's Sọkọ Xtra (Ivory Music IVR 039), one of his biggest hits ever.
The basic elements of the 1990s jùjú sound are all here: the punchy, forward-driving rhythms complete with electronic drum pad, synthesizers and no pedal steel guitar to be found. And check out the Paul Simon reference in the opening bars of "Eko Ayo!"
Saturday, February 3, 2018
Nwamara (Tradition TRAD 001, 1984), by the Nkelebe Brothers, is like no other recording of Igbo music I have ever heard. I don't know if these ethereal, polyphonic vocal stylings are unique to the group's area - Isiala Ngwa North LGA (county) in Abia State, Nigeria - or if this mode of singing is found throughout Ala Igbo. After all, there are many Igbo records I haven't listened to!
The Ngwa people, from whom the Nkelebe Brothers hail, are an Igbo sub-group about whom there are many tall tales. The word nkelebe itself describes a type of Igbo praise-singing, although I haven't been able to find out much beyond that. I can say, though, that this six-member group, utilizing only their voices and basic percussion - Udu (pottery drum), Samba (square drum), and Mpaka (sticks) - produce deeply moving music that reminds me of the contrapuntal vocals of central Africa, although there is probably no direct connection.
The title of the first song, taking up all of Side One, means "A Well-Behaved Woman is a Gift":
Nkelebe Brothers - Agwa Nwanyi Bu Oji
"Ole Ndi Bu Eze" - "Where Are the Kings?":
Nkelebe Brothers - Ole Ndi Bu Eze
"Akwukwa Bu Ogu" roughly translates as "Your bad intentions won't hurt me because my heart is pure":
Nkelebe Brothers - Akwukwa Bu Ogu
You can download Nwamara as a zipped file here. Many thanks to my wife Priscilla for translating the titles of the songs.
Tuesday, December 26, 2017
The Good Women Choir was founded in Ibadan, southwestern Nigeria in 1975 as the musical expression of the Christ Apostolic Church, an offshoot of the Aladura Christian religious movement that arose among the Yoruba people in the early 20th Century. The Choir numbered 200 at its founding and presently has twelve members.
Mrs. Deborah Fasoyin, who has led the group since 1976, attributes its endurance to its strong spiritual base and a refusal to follow musical fads. The group performs only in churches and claim they decline to accept payment, subsisting only on their own contributions.
Today's offering, Ọdun Nlọ Sopin (Ibukun Orisun Iye MOLPS 66, 1979), was the group's biggest hit, and is ubiquitous in southwestern Nigeria this time of year, heralding as it does best wishes and good tidings for the New Year:
Ọdun nlọ sopinThis music makes me happy! I hope you feel the same.
Baba Ma ṣọmi o
Ohun ti o pa mi
Lẹkun olọdun titun
Majẹ ko ṣẹlẹ simi
This year is coming to an end
Oh Lord guide us
And our children
Sorrow and sadness
In the new year
Will not be our portion
Good Women Choir - Odun Nlo Sopin / Alleluya Lomo Mi Goke / Ara Mi Yo Ya Gaga / Tire Lagbara
Good Women Choir - Jesu Gbo Temi / Ma Je Koro Mi Su O / Jesu Lona Otito
Download Ọdun Nlọ Sopin 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.
Tuesday, November 21, 2017
Finding out more information about Dr. Mamman Shata has not been easy. He is the subject of at least one biography, "Shata Ikon Allah!" by Ibrahim Sheme (Kaduna, Infomart Publishers, 2006), and at least one doctoral dissertation, “The Role of an Oral Singer in Hausa/Fulani Society: A Case Study of Mamman Shata," by Dr. Abdulkadir Dandatti (Folklore Institute, Indiana University, 1975), neither of which I've been able to get hold of. There does seem to be a fair amount of information about him online in Hausa.
Shata was born in Rugar Kusa, Musawa Village, Northern Nigeria in 1922. Although his father disapproved of his interest in music, he began singing at the age of 13 and was soon composing his own Wakokin, traditional Hausa praise songs. He was accompanied by musicians playing kalungu, small talking drums, and travelled throughout the north of Nigeria gaining fame if not yet fortune. He once told an interviewer, “I ventured into music out of childish exuberance. I didn’t inherit it from either of my parents. I sang for a long time without collecting a penny. Even when I was given money, other praise singers collected it. I only started collecting money when I made it (music) a career." He settled down in Funtua, also the home of Barmani Mai Choge, a wild and wooly municipality that hosted many brothels. Chafing at the strictures of conservative Hausa Muslim society, he had a taste for drink and sang its praises.
It is said that Mamman Shata never rehearsed and composed his songs on the spot. I've been unable to track down much of his discography and I suspect most of his music was never pressed but recorded for broadcast. Probably much of it was not recorded at all. In addition to praise songs, his repertoire covered all manner of subjects, from agriculture to politics to the military, even food! One notable song is said to have been broadcast throughout northern Nigeria during the troubles of 1966-67 preaching peace, tolerance and national unity. He performed throughout West Africa and even made it to Britain and the United States.
Alhaji Doctor Mamman Shata passed away on June 18, 1999, leaving behind three wives, 22 children, numerous grandchildren and an immortal musical legacy. The true voice of Arewa!
Here are two cassettes by the immortal Mamman Shata.
The cassette Bakandamiyar (EMI Nigeria EMI 003), which I obtained during a visit to Kano in 1995, is a dub of a scratchy LP recorded, I suspect, some time in the '70s or earlier. I would guess the song "Garba Bichi" is in honor of Abubakar Ali Bichi, who was a prominent Northern Nigerian businessman born in 1924. There is a Garba Bichi Ahmed (possibly his son?) who is a member of the Nigerian Federal House of Representatives from Bichi, Kano State, but since he was born in 1964, it's probably not about him:
Alhaji Mamman Shata - Garba Bichi
"Bakandamiyar"is considered one of Maman Shata's greatest songs. In it he sings his own praises:
I started Bakandamiya and embraced the thing that interests me most
Alo, Alo, the singer expresses his gratitude and so do the chorus.
As for me nothing interests me except my singing,
Beat your drum carefully,
Play slowly and carefully,
For drumming is your inheritance but not mine.
I started singing as a hobby,
Certainly I started it as a hobby and outshined the professionals;
Now it is my match that they search for and have woefully failed,
Alo, Alo, the singer expresses his gratitude and so do the chorus.
It is not parting with a hero that is painful,
But filling the gap which he created....
...One day here in the city of Dabo,
I have ever lived in the city of Dabo,
During the reign of Sanusi Mamman,
Burhan father of Habu son of Abdu,
Then I packed my belongings and left,
And returned to the city of Dikko,
Our Katsina, the city of Shehu.
My departure pleased the Kano singers;
They ganged up against me saying:
That bastard Shata has gone,
Good riddance Shata has left,
Ha! Since he left the city of Dabo,
No doubt has lost many good things.
Go your way; I am aware I missed Kano City,
And Kano too had missed a famous singer,
And you also had missed my singing.
After six good months I staged a comeback,
I went away for six months,
And returned to the city of Dabo,
On Friday during the princess’s wedding,
I sneaked in with my mini car,
I took a corner and parked my mini car,
I put on a veil and joined the crowd.....
.....I pondered and groaned,
There and then I uncovered myself,
And said, You have now felt the absence of Shata, the singer.
Even among kola nuts there are marsa,
Well much more so among the singers,
Princes, I hope and think that you will lend me your ears,
And listen to my song.
It is not parting with the hero that is painful,
But filling the gap which he created....
......That day I rose and praised myself,Alhaji Mamman Shata - Bakandamiyar
And praised God and his Messenger,
That day I outshined Hamisu, outwitted Caji and put Dabolo out of action,
They cast a spell on me but to no avail,
And had I prior knowledge,
I would have brought my billy-he goat, and my speckled fetish cock,
What! Would that I were able to know in advance,
I would have prepared for it.
I ignored banjo and guitar players,
Because they are insignificant musicians who,
Play for money clothes to wear and a few pounds to get married.
Download Bakandamiyar as a zipped file here.
Emir of Hadeija (Polydor POLP 121), which came out in 1985 I think, was one of Shata's last recordings, and is considered one of his best. I presume from the song titles that they are in honor of various notables. For instance, Side One honors rulers of various traditional states in Northern Nigeria, while I would guess Side Two praises business or political leaders:
Alhaji Mamman Shata - Emir of Hadeija / Emir of Bauchi / Bella Galadima of Katagun / Emir of Daura Alhaji Maman Bashar
Alhaji Mamman Shata - Habibu Fari Elema / Wili Dan Tijani / Shehu Kasimu Sarkin Mararaba / Malam Shuaibu Gadan Gayan / B.B. Faruku Na Allah
Download Emir of Hadeja as a zipped file here.
The picture at the top of this post is from the Mamman Shata Facebook page. The translation of the lyrics of "Bakandamiyar" is from the article, "10 Years After his Death, Shata Still Lives on," from the Daily Trust (Nigeria), June 21, 2009, which provided much useful information for this post. I'm also greatly indebted to the blog Taskar Mamman Shata and the Wikipedia article "Mamman Shata."
Saturday, September 16, 2017
Prior to 1995, the only Hausa music I had heard was a couple of LPs of traditional music - one from the esteemed Bärenreiter Musicaphon series and another issued by the African Record Centre in Brooklyn. In December of that year, during a visit to Nigeria, I was curious to discover more, so together with my brother-in-law boarded a plane to Kano, the largest city in northern Nigeria. Our cab driver directed us to a music store which had an extensive selection of cassettes, mainly featuring the ever-popular Congolese sound, but also many from Mali and other countries of the Sahel. Notably there were many cassettes from Sudan. I understand this popularity of Sudanese music is a result of pilgrims from northern Nigeria stopping off in that country on their way to and from Mecca. I regret now that I didn't purchase any of these at the time.
My main interest was Hausa music, and I was amply rewarded with about 30 cassettes by artists like Alhaji Mamman Shata, Dan Maraya Jos, Audu Waziri Danduna, Sanni Dandawo, and northern Nigeria's greatest diva, Barmani Mai Choge.
According to the article "Barmani Choge: The Last of the Strong Ones" by Abubakar Adam Ibrahim (Daily Trust, March 10, 2013), Choge, née Hajiya Sa’adatu Aliyu, was born in the town of Funtua in 1943 or '45 and "...soaked up the cosmopolitan nature of that place that produced the legendary Mamman Shata, and she picked up what had hitherto been a pastime for women in the confines of their houses (the beating of calabashes) and made a successful music career out of it. And all these, while having a dozen children or so along the way. A feat she celebrated in her song 'Gwanne Ikon Allah.' She reportedly married at 15...."
A publicity flyer for a 2008 performance states that "...Barmani Choge popularized the mature Hausa women genre of music called Amada (although she had precedent in the late Hajiya Uwaliya Mai Amada (1934-83)), which started as religious performance by women in their inner apartments, before later becoming secularized in public performances. Barmani Choge’s performances appeal typically to mature women in high society due to her daring – and often experimental – exploration of issues that other conventional women musicians avoid. Literally the last of her generation, she popularized the Amada genre of Hausa music which is centered around five upturned calabashes floating on water and played with the hands by rather elderly women...."
Barmani Mai Choge passed away in early 2013, leaving Nigeria a poorer place, but setting an example for the women of the North. I present here two cassettes by Choge - 1987's Mai Soso Ke Wanka (Polydor POLP 162) and A Kama Sana'a Mata (Polydor POLP 166) from 1988. I've been unable to find out much about the lyrics (Google Translate wasn't much help), but I'm passing on what I know.
From Mai Soso Ke Wanka:
"Gwarne Ikon Allah" - "The Blessings of Multiple Births"
Hajiya Barmani Mai Coge & her Group - Mai Soso Ke Wanka / Gwarne Ikon Allah / Wakar Da'a
Hajiya Barmani Mai Coge & her Group - Maras Sana'a / Sama Ruwa Kosa Huwa
Dowload Mai Soso Ke Wanka as a zipped file here. Here is A Kama Sana'a Mata:
"...The Funtua in which Barmani and Shata grew was teeming with brothels and a joie de vivre approach to life and was perhaps ripe for the lewd lyrics of her hit song “Wakar Duwai Wai”, which in contemporary Nigerian music would have taken a fitting title like “The bum bum song”. In it, Barmani praises the female physiognomy and its inherent powers, how a woman can wiggle her backside and have a man do her bidding. Women loved it, and men smiled a silent acknowledgement. And Barmani place as a social deviant was firmly established...." (Abubakar Adam Ibrahim, op. cit.)
Hajiya Barmani Mai Coge & her Group - Wakar Dwaiwai / Mai Abin Dadi / Azwage Zogala
"Woman, Take Up a Trade":
Hajiya Barmani Mai Coge & her Group - A Kama Sana'a Mata
Hajiya Barmani Mai Coge & her Group - Wakar Kishiya / Wakar Mutau Misau
Download A Kama Sana'a Mata as a zipped file here.
A future post will feature the music of northern Nigeria's foremost male singer, Alhaji Mamman Shata.
One question I had at the time of my 1995 visit was whether there was any analog in northern Nigeria to the popular musical styles of the South - highlife, jùjú, fújì and so forth. There were one or two Hausa highlife ensembles back in the '60s and '70s, and southern Nigerian artists will occasionally record songs in the language, but the answer, at least in 1995, seemed to be "no." The subject matter may involve modern concerns, but the music of Choge, along with the other artists I've mentioned, is definitely within the classic framework, utilizing percussion, one-string lutes and other traditional instruments.
Unknown to me at the time, though, Hausa music was undergoing a revolution, and this was spurred by the Bollywood film industry of India, whose products have been popular throughout Nigeria for many years. The liner notes of Harafin So: Bollywood Inspired Film Music From Hausa Nigeria (Sahel Sounds SS-014, 2013) tell the story:
"...Hausa tradtional musicians began to play cover versions of popular Bollywood soundtrack music...It was not until 1990, and the introduction of VHS, that the first Hausa language films were made in Kano, and Kannywood was born. Naturally, producers turned to the influences of films they had been watching for generations. Featuring plots of forced marriages and love triangles - indeed, sometimes copying the plot directly from the original Hindi films - these new homemade creations also retained the most popular feature of Bollywood: song and dance.
"...as in Bollywood, soon the film songs came to eclipse the films themselves. It was not long before songs began to precede the film. In these polyphonic duets, men and women often would exchange words with one another, throwing barbs or providing romantic innuendos. Stylistic elements began to emerge in Hausa popular music, with the frenetic rhythm of a drum machine and synthesizer riffs. Autotune, the pitch correcting technology, joined the toolkit, offering a chance to compete with the high octave voices of Hindi film, becoming a signature sound of the film music..."Harafin So is highly recommended. Here is an example of Hausa film music, thoughtfully featuring English subtitles:
Thursday, August 31, 2017
Jùjú music, so popular in the 1970s and '80s, seems to have gone into eclipse in southwestern Nigeria, the land of its birth. Even fújì, which took its place for a time, has mutated into something rather removed from its origins. In their places, in the popular music arena at least, are variations on international hip-hop, heavy on auto-tuned vocals and synth.
Styles may come and go, but King Sunny Adé, the best-known jùjú musician outside of Nigeria, still keeps up a busy worldwide touring schedule. It's hard to believe he just turned 70!
Juju-Apala Live (Fortune Records, 2000) captures the King at the top of his form in front of a live audience in Lagos. Maybe it's just me, but before his fellow Nigerians, Sunny and the African Beats seem a lot more relaxed and uninhibited than they've been in front of US audiences, at least at the concerts I've been to. I suspect this CD is a bootleg recording, as it wasn't released through KSA's usual outlets. Moreover, my copy was an unauthorized rip of the original release - a pirate of a bootleg!
What's really ear-opening in this CD is the extended workout on Track 4, "Juju-Apala," with Musiliu Haruna-Ishola, son of the legendary Haruna Ishola, who perfected modern àpàlà music in the '60s and '70s. Àpàlà, a very traditional form, is one of the foundations of jùjú, fújì and other Yoruba musical styles, and Musiliu is ably carrying on his father's work.
The past and the future meet in Juju-Apala Live!
King Sunny Adé - Talking Drum
King Sunny Adé - Oro Ope Ko Ni Kase
King Sunny Adé - O Ya, O Ya Mi Bo
King Sunny Adé - Juju-Apala
Download Juju-Apala Live as a zipped file, complete with album artwork, here.
Wednesday, August 9, 2017
A few days ago I posted an album by King Wasiu Ayinde Marshal 1, one of the reigning triumvirate of fújì music in the 1980s. The other two were Sikiru Ayinde Barrister and Kollington Ayinla, whom I present today. Kollington is said to have been born as Kolawole Ayinla Ilori in Ibadan in 1953 and started recording when he was in the Nigerian Army in the '70s. By the early '80s he was giving Barrister, fújì's acknowledged king at the time, a run for his money. Until Barrister's death in 2010, the rivalry between the two was fierce and acrimonious, although it's an open question how much of this was real and how much was a marketing ploy. Today Kollington swears his undying love of the late, great maestro.
Kollington Live in America 1997 (Oracle Records AFRO 013. 1997) is truly an odd artifact: Fújì music stripped down to its bare, funky essence - organ, basic percussion and wailing Islamic vocals, uninterrupted for 73 minutes! It's very compelling. Here it is:
General Kollington Ayinla & his Fuji Eaglets - Kollington Live in America
Download Kollington Ayinla Live in America 1997 as a zipped file here, complete
with album artwork.
Saturday, August 5, 2017
The African music blogosphere has changed a lot in the last four years, mostly not for the better. Old friends - With Comb & Razor, Oro, World Service and Electric Jive among others, have gone dormant or post infrequently. Others have disappeared altogether. I see Moos over at Global Groove is still hanging in there, and newer outlets like Mangue Music, My Passion for Ethiopian Music and Ndiakass have stepped into the breach. Needless to say, none of us is making any money doing this - it's all for the love. Maybe together we can bring about a revival of the African music scene online!
For those interested in further exploring Yoruba Muslim music, I've written two previous posts, "The Alasa of Ibadanland" and "Yoruba Muslim Women's Music."
King Wasiu Ayinde Marshal 1 (b. Wasiu Ayinde Adewale Omogbolahan Anifowsha, 1957) got his start in the Supreme Fuji Commanders of Sikiru Ayinde Barrister, one of the founders of the modern f'újì style in the '70s, and broke out on his own in the early '80s with the confusing moniker Wasiu Ayinde Barrister and a number of smash hit LPs. By the nineties he'd changed his stage name to King Wasiu Ayinde Marshal 1 (later to KWAM I and later still to K1 De Ultimate) and was at the top of his game. He's continued to innovate within the fújì genre, adding new instruments and drawing upon influences like rock and hip-hop. Check out this medley of recent tunes that mostly can barely be described as fújì at all - the percussion section is almost overpowered by saxophone, guitar and synth!
For those interested in exploring further online, the Nigerian media is rife with tales of KWAM 1's acheivements, his controversies with other musicians, and descriptions of his opulent palace in Ijebu Ode, complete with snakes and crocodiles. But for now, let the music speak for itself!
King Wasiu Ayinde Marshal 1 - Show Colour
King Wasiu Ayinde Marshal 1 - Ayinde No Go Die/Consolidation/Cruise Control/Hip-Hop
King Wasiu Ayinde Marshal 1 - Orin Eyo
King Wasiu Ayinde Marshal 1 - Power to the People/Ayinde Lagbade Fun/Late Prince Tunde Ojurongbe/Tulampa/Bosun Olaku of London/Kunle Fayemi/Ade Bendel/Alhaji Rasaq Okoya/Eleganza
Download Consolidation as a zipped file, complete with cover and label art, here.
Tuesday, April 23, 2013
Despite his great popularity back in the day, information about the late, great Igbo bard Show Promoter (Nelson Ejinduaka) is as scarce as hens' teeth. All I've been able to unearth is that he was from the city of Orlu in Imo State, spent most of his career in Ikwerreland (near Port Harcourt) and apparently passed on some time in the late '80s. His album Azu Alala (Onyeoma CY Records CYLP 043, 1987) is such an outstanding example of traditional Igbo music that I had to share it!
The title track, "Azu Alala" ("Fish is Scarce & Highly Costly"), concerns an obedient wife and the husband who is oblivious to his family's hardship. A husband gave his wife ten naira to go to the market to buy food for the family. She asked him, "Will ten naira be enough?" but he told her, "Make do with what you have."
She went to the market and spent
N5 on gari (cassava meal) and N5 on yam. The money was gone. There was no money for fish, no money to buy oha leaf (greens) or meat.
The wife came home and didn't know what to do. Her children were crying in hunger, "Please give us food." She went to the kitchen to prepare the food. The children ate, and so did she.
In the meantime her husband was down at the restaurant, drinking and living the life of an onye oriri (man about town). He told his friends, "Come home with me. I gave my wife money to prepare food for us." When they arrived home he called out to her to bring out the food she had cooked. The wife began to cry and presented the pitiful repast she had prepared.The man opened the pot to see that there was no fish, no vegetables and no meat. He jumped up and slapped his wife. She cried, "Ego i nyerem ezughi. The money you gave me was not enough to make soup. I managed with what I had to feed our children. Please don't hit me."
The chorus, "Ogiri k'am, jiri shi ofe, azu alala," means "I made the soup with stock.There is no fish."
Show Promoter & his Group - Azu Alala
In "Onye Ma Ihe Echi Gabu (Tomorrow is Pregnant. Who Knows What it will Be?)" Show Promoter sings, "My brother, who knows what tomorrow will bring? My sister, who knows what tomorrow will bring? Everybody pray to God so it will be good for us." He then proceeds to call out various local notables:
Show Promoter & his Group - Onye Ma Ihe Echi Gabu
"Onwu Ashio (The Death of Ashio)" recounts the tragic fate of a man who died in a traffic accident: "Ka mpkuru obi ya nodi nma (May his heart rest in peace). Anyi sikwa ama nnachi, mu na gi bu kwu nwa nne - a go. (We came from one place, you and I, brothers or relatives).Onwu gburu Ashio (The death that killed Ashio). Ashio a hupu la m laa (Ashio left me behind)."
Show Promoter & his Group - Onwu Ashio
Many thanks to my wife Priscilla for translating the lyrics of Azu Alala. You may download it as a zipped file here.
Saturday, August 18, 2012
Thanks to a tip from reader/listener Zim Bida, I was able to score from Ebay an almost-mint copy of the elusive LP Igba na Egwu Ndi Biafra Ji na Anu Agha: Drums and Chants of Fighting Biafra by the Biafran Freedom Fighters (Afro Request SRLP 5030, ca. 1968), and for a very reasonable price!
Although I've been looking for this album for some time, I would have to say after listening to it that it is of more historical than musical interest. According to the liner notes, the "Biafran Freedom Fighters" are ". . .from the ranks of young soldiers who have adapted some old Ibo folklore, that are sung at the camp fires. In addition, they are performing present day war songs." The genre is what is considered "traditional" Igbo music for voice and percussion, or "Igbo Blues." These amateur musicians are not generally of the caliber of artistes like Bob Sir Merengue, Morocco Maduka or Area Scatter who have been featured in earlier posts here. Still, as another snapsot of the Biafran war of 1967-70, Igba na Egwu Ndi Biafra Ji na Anu Agha is well worth listening to. Enjoy!
"I Say You Don't Fear." Okwa imaregu. Ka ayin bawa egu. If you know no fear, then this is the time to prove it:
Biafran Freedom Fighters - Isikwa Inara Egwu
"The Goddess." Nmebo nwo ogara nye. Oyeri Ngwa. We know you are like a goddess, so we expect you to behave like one:
Biafran Freedom Fighters - Oyeri Mayo Ngwa
"Letting Down the Boss." Nye ka yo obusu ma ka no abubu kayo obubu ma. Mbebe nwo ogaranyi kayo bubuma. To let down your boss is really more than killing him:
Biafran Freedom Fighters - Mbebo Nwo Ogaranyi
"Bonny Creek." Tumbi Ibani a quo eruwe ru. Ibani Creek is a very long journey. Let us try our best and paddle hard to the journey's end:
Biafran Freedom Fighters - Tumbi Ibani
Biafran Freedom Fighters - The Nwatan War Drums
"The Colored Animal." Anu turu agwa gwa we eke. Ilema ayan nu zo a nuturu. Agwa gwa we ke. Be on your guard like a colored animal and adjust yourself to the surroundings:
Biafran Freedom Fighters - Anu Turu Agwa Gwa
"Mosquitoes Molest Me." Atita ekwemu ni hie urura nu lo de de. Despite the arduous journey, I cannot sleep because the mosquitoes molest me:
Biafran Freedom Fighters - Atita Ekemwu
"Beloved Biafra Land." Ayin ga do ala nna ayin Biafra. Let us defend our motherland Biafra to the last drop of our blood:
Biafran Freedom Fighters - Ala Biafra
"Elephant Crush." Eyin mba eyin. Use the elephant's strength to crush the enemy:
Biafran Freedom Fighters - Eyin Mba
"Tied Feet and Hands." Sometimes fear ties our feet and hands. So let's go forward resolutely with our leader:
Biafran Freedom Fighters - Aku Ne Ke Aka
"Fight to the End." Eke le ndu uwa lu o gu ka madu. This fight is a struggle to the end. We will win:
Biafran Freedom Fighters - Ekwele Ndu Uwa
"It's Time." Adama luru di na abali. Adama ni ogeru. After all this, it will be yime that Adama marries her fancy:
Biafran Freedom Fighters - Adama's Ogeru
The translations are from the liner notes of Igba na Egwu Ndi Biafra Ji na Anu Agha. To download it as a zipped file, go here.
Thursday, July 5, 2012
Isaiah Kehinde Dairo (b. January 6, 1931), the son of a carpenter, performed with many of the greats of the Ibadan jùjú scene while working days in a variety of odd jobs. He launched his first professional group, the Morning Star Orchestra, in 1954, changing their name to the Blue Spots in the early '60s. Dairo introduced the accordion to jùjú music and was responsible for many of the innovations, including Latin American and Christian choral influences and the use of various dialects, that are hallmarks of the mature jùjú style.
Dairo and the Blue Spots went into eclipse during the '70s with the ascension of younger stars, but made a comeback in the '80s, achieving international recognition with several CD reissues and new recordings. Ma F'owuro Sere (Ibukun Orisun Iye MOLPS 112, 1987), presented here, is an excellent example of I.K. Dairo's late style (I apologize for a bit of unfortunate "wow" on Side 1, apparently caused by a spindle hole that is slightly off-center).
Dairo died February 7, 1996 of renal failure. His wake-keeping, beginning on April 15, went on for five days and was attended by tens of thousands. In addition all Nigerian musicians refrained from performing during that time and Radio Nigeria played nothing but his music. Truly a fitting tribute to a giant of Nigerian music!
I.K. Dairo & his Blue Spots Band - Ba Wa Segun Ota a Mbere/Olorun Oba Kan Na La Npe/Ka Wo Ehin Wo/E Ma F'etu Sere/Ija O Yewa
Download Ma F'owuro Sere as a zipped file here. Information for this post was derived from the liner notes of two excellent recordings, Definitive Dairo (Xenophile XENO 4045, 1997) and I Remember (Music of the World CDC-212, 1991), as well as Christopher Waterman's definitive Jùjú: A Social History and Ethnography of an African Popular Music (University of Chicago Press, 1990). These are all available for purchase or download (just click on the links)!
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.