Kudos to Siemon Allen at the always-worthwhile Electric Jive blog for Miriam Makeba - Tracks Less Travelled (1958-98), a fascinating overview of the work of the great South African diva. There are plenty of audio rarities here and lots of little-known facts. Altogether a must-read and must-listen, and highly recommended!
Sunday, October 9, 2011
A Heads Up
Thursday, October 6, 2011
Smooth as Butter
Congo music doesn't get much smoother and more elegant than Bumba Massa's 1982 outing L'Argent et la Femme (Star Musique SMP6017), recorded in Togo with the participation of Bopol Mansiamina, Syran Mbenza and Lokassa ya Mbongo, among others. When I posted Bumba's 1983 LP Dovi earlier this year, I promised this one would be coming your way also. Enjoy!
Bumba Massa - L'Argent et la Femme
Saturday, October 1, 2011
Cameroon Fever Vol. 1
Ken Abrams does it again with Cameroon Fever Vol. 1, a tasty collection of tracks from that country, mostly from the golden '80s, when Makossa, Makassy, Tchamassi and Bikutsi ruled.
A few notes about some of the artists here: Besides being a prolific artist in his own right, Isidore Tamwo in the '80s was the producer of Sam Fan Thomas, who achieved world fame with his smash "African Typic Collection," among others. Andre-Marie Tala popularized the Tchamassi rhythm and won a court case against James Brown for plagiarizing his hit "Hot Koki." Betuel Enola is better known as a backup singer for the likes of Manu Dibango and Lapiro de Mbanga, but she did make at least one solo recording, Propriete Privée, from which the song "Oa" is taken. The Golden Sounds, led by Jean Paul Zé Bella, are arguably one of the most influential African groups of all time, thanks to their 1986 smash "Zangalewa," better known as "Waka Waka," whose serpentine history is discussed by Uchenna Ikonne here.
Johnny Tezano acheived fame in the '80s with a synthesis of Camerounian and Congolese music that he called Ma-kwassa, while Ebanda Manfred is best known as the author of the song "Ami," made famous by Bebe Manga (and which you can download here). Jean Bikoko Aladin, who passed away last year, was one of the founders of modern Camerounian music, who popularized the Assiko style in the early '60s.
Johnny Tezano acheived fame in the '80s with a synthesis of Camerounian and Congolese music that he called Ma-kwassa, while Ebanda Manfred is best known as the author of the song "Ami," made famous by Bebe Manga (and which you can download here). Jean Bikoko Aladin, who passed away last year, was one of the founders of modern Camerounian music, who popularized the Assiko style in the early '60s.
Download Cameroon Fever Vol. 1 here. And explore Ken Abrams's artwork here.
1. Emancipée Mariama - Isidore Tamwo2. Celle Qui T'A Aime - Andre-Marie Tala3. Oa - Betuel Enola4. Maladie Difficile - Golden Sounds5. Bobe Na Bongo - Cella Stella6. S.O.S Mon Coeur - Marcel Tjahe7. Balong - Maurice Njoume8. Carreau Magique - Johnny Tezano9. Baby Na Mamy Na - Ebanda Manfred10. Humanisme African - Tonye Jackson11. A Yiga Tchome - Jean Bikoko Aladin Et L'Assiko Rigueur12. Pane Pane - Georges Seba13. Mengabo Wo Dze - Alao Javis
Wednesday, September 14, 2011
From the Banks of the Oubangui River
The music of the Central African Republic is little-known. There are some excellent recordings of traditional music on the Ocora label (Empire Centrafricain: Musique Gbáyá/Chants à Penser [558 524, 1977] is a standout), but its "modern" artists are often overlooked in favor of those of the CAR's neighbors, Cameroun and the two Congos.
Some may have wondered if there is a serious music "scene" in the CAR at all, but as recounted in a fascinating post in Matt Lavoie's African Music Treasures blog, indeed there has been since 1954, when Prosper Mayélé founded Tropical Jazz, which became the house band at Bangui's Le Rex club. As is the tendency in African music, Tropical Jazz spawned splits and sub-splits, giving rise to Orchestre Centraficain, Vibro Jazz and Tropical Fiesta. A group called Zokela, founded in 1981, in 1999 split into four different Zokela permutations. For samples of music from several of the groups I've mentioned, I would refer you to Matt's well-researched article.
It has not been my practice to post more recent, commercially-available recordings on Likembe, but as it apparently has long been out of print, I am making available here RCA: Centrafrica Compil (Déclic 50 608, 1997), which is a pretty good overview of the Central African music scene, at least as it existed in the late '90s. I regret that I can't give you any information about the musicians. As you might expect, the sound owes a lot to Congo music, but there are plenty of uniquely Central African touches (take note especially of Francis Gon's "Caresse de Î Les"). Enjoy!
Download RCA: Centrafrica Compil as a zipped file here. I suspect that some of the tracks on this CD were mislabeled. If someone has information about the correct track-listing, let me know and I'll make a correction.
Enjoy this video by Canon Star, one of the groups featured on Centrafrica Compil:
Wednesday, September 7, 2011
l'ANPAC Presente Vol. 3
Some sweet sounds conclude our presentation of the three-volume series l'ANPAC Presente with Volume 3 (AN 400 3, 1984). Like musicians on Volumes One and Two, Pierre Claver Zeng Ebome, who performs "Eyala," has been active in Gabonese politics for many years, holding various posts in the government of President Omar Bongo as well as being elected to Parliament. Norbert Epandja, who gives us the lovely "N'oublie Jamais," has been involved in politics of a different sort, as president of the Musicians' Union of Gabon. I can tell you nothing about the other talented musicians here. Enjoy l'ANPAC Presente Vol. 3!
Download l'ANPAC Presente Vol. 3 as a zipped file here.
Sunday, September 4, 2011
l'ANPAC Presente Vol. 2
Back in the '80s the three volume collection of Gabonese music l'ANPAC Presente was frequently on our turntable and, dubbed onto C90 cassettes, our auto sound system. Continuing Likembe's presentation of this interesting series, l'ANPAC Presente Vol. 2 (ANPAC AN 400 2, 1984) features a couple of songs that are among our all-time favorites.
Mack Joss is the only musician here known to me, and all I can tell you is that he's been on the Gabonese music scene for a while - at least since the 1970s. "Mounombi" here is a really nice adaptation of Gabonese folklore, as is "Motobetheyi," performed by Pierre Emboni, who in addition to his musical efforts, was a leader of one of Gabon's political parties and Minister of Youth and Sports in the late '90s. "Souviens Toi" by Yvon Dawens is a nice song in the Congo-Cameroun musical continuum, but the real standout of this LP is Obiang Okane's "Dokira," which incorporates the mvet, a traditional musical instrument of the Fang people of Gabon, Equatorial Guinea and southern Cameroun. I hope you'll enjoy l'ANPAC Presente Vol. 2 as much as I do:
Download l'ANPAC Presente Vol. 2 as a zipped file here. For those interested in learning more about the mvet, featured in "Dokira," I would recommend Francis Bebey's magisterial African Music: A People's Art (Lawrence Hill & Co., 1975), and also the LP Gabon: Chantres du Quotidien/Chantres de l'Epopee (Ocora 558 515, 1981). The mvet plays a role in traditional Fang society very similar to that of the kora among the Mandinka peoples of West Africa, as an accompaniment to epic ballads, the performance of which is said to last all night. From Gabon: Chantres du Quotidien/Chantres de l'Epopee, here is an extract from one of those performances, performed by Akwé Obiang (pictured below):
Friday, September 2, 2011
l'ANPAC Presente: Vol. 1
The small country of Gabon has never loomed large in the African music scene, although artists like Pierre Akendengue and Oliver N'goma have certainly made their mark. Back in the 1980s, though, the Libreville radio station Africa No. 1 and its powerful signal ruled the African airwaves, and along with Gabon's first modern recording studio, Mademba, founded around the same time, brought increased attention to musicians from the country.Africa No. 1 was the inspiration of Gabonese President-for-life Omar Bongo, who apparently sought to use his country's oil wealth to raise its prestige in the world. Another Bongo initiative, l'Agence National de Promotion Artistique et Culturelle (ANPAC), in 1984 issued a three-volume series of recordings, l'ANPAC Presente, showcasing a number of popular musicians of the decade.I can't tell you much about the musicians on Vol. 1 (ANPAC AN 400 1), presented here, or on Vols. 2 and 3, which will follow shortly. Hilarion Nguema, the best known of these, founded Orchestre Afro-Success in the early '80s and scored a number of hits, notably 1988's Crise Economique. The Wikipedia entry for Jean-Boniface Assélé describes a politician and brother-in-law of Omar Bongo, but makes no mention of a musical career, which leads me to question if they are indeed the same person (see update below). The other artists draw a complete blank on Google.I think you will agree with me that these mellow sounds have congruences with the music of Congo and Cameroun, with some unique local touches. Enjoy!Download l'ANPAC Presente Vol. 1 as a zipped file here. There's an interesting coda to the story of Africa No. 1. The radio station left the airwaves for a number of weeks earlier this year, apparently a result of the political crisis and civil war in Libya. Libyan Jamahiriya Broadcasting was a 52% shareholder, and when Libya's assets were frozen, the station was unable to pay its bills. You can read the story here and here.My apologies for Likembe's three-month hiatus, by the way. A lot of personal issues intervened, but I hope to keep things going on a more regular basis from now on. Update: Thanks to commenter Peter for confirming that the Jean-Boniface Assélé of this LP and the one described in Wikipedia are indeed one and the same.
Monday, May 30, 2011
Congo Memories with Bumba Massa
Best-known for his work with the super-group Kékélé and last year's release Apostolo, the honey-voiced Bumba Massa is one of the great unsung heroes of '80s Congo/Zaïre music. Born in Kinshasa in 1945, in 1963 he founded Orchestre Cubana Jazz with Empopo Loway and Siongo Bavon Marie-Marie, the younger brother of Luambo Makiadi Franco. He then progressed to work alongside Johnny Bokelo in Conga '68 and with Vicky Longomba in Lovy du Zaïre, before joining Franco's TPOK Jazz in 1976.Bumba Massa launched his career as a solo artist in 1978 with a tour of West Africa, ending with the release in 1981 of Gare à Toi Mon Ami in Ivory Coast. Despite a number of outstanding releases like l'Argent et la Femme and Dovi in subequent years, Massa was unable to really "break through" on the international scene (l'Argent et la Femme did receive some limited distribution by Brooklyn's African Record Centre) until 2001, when Kékélé's first recording Rumba Congo (Sterns STCD 1093) brought the sounds of classic Congo music to a new generation.
Listen to Bumba Massa's brilliant 1983 outing Dovi (Syllart SYL 8306) and understand why I consider the 1980s the last "Golden Age" of Congolese music. Recorded in Paris under the direction of the great producer Ibrahima Sylla, and with the participation of outstanding sidemen like Pablo Lubadika Porthos and Syran Mbenza, it stands as a pinnacle of the sound: smooth, seemingly effortless and sublime. If you like this one, in the future I will post 1982's l'Argent et la Femme, which is almost as good.Download Dovi as a zipped file here.
Sunday, April 17, 2011
Happier Days
Back with a reminder of much, much happier days in Somalia, our good friend Sanaag passes on almost 80 minutes worth of music by the legendary Afro-funk band Dur Dur, who were among the most popular groups in Mogadishu back in the '80s. You may remember them from this post, and this one. I understand that after the collapse of Somalia in 1991, vocalist Sahra Dawo and other "newer" members of the group relocated to Columbus, Ohio, USA, where they have a presence on Facebook. Sanaag reports that the other members of the "old guard" featured here are scattered all over the world, except Muktar "Idi" Ramadan who unfortunately passed away a few months ago in Saudi Arabia.
As usual for Somali recordings of this vintage, the audio quality of these songs is not up to modern standards, but I'm sure you'll agree that their musical and historical qualities more than compensate. Here's what Sanaag has to say about them:![[Break.jpg]](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3i3vc4NQFt-HEXovusp0hvvvuHdWlg93xKWMg5I2grBn9BxJEYHNRHSgy4W9-3e74JH9Qu81TO2bvXb9DoKgSnYs7ta3bH8nUAJOsmJqxFGMiz6MdVBRtm7_Eo_6OxBof8e8X0UIqEO4/s1600/Break.jpg)
Durdur's songs are almost always drenched in love. To the best of my knowledge, they didn't address social or political issues during the military dictatorship and that's why their lyrics didn't make a lasting impression on me or flare up my interest in the band; hence my sketchy knowledge about their work and background. I was really delighted with the post-Siad Barre cassette Andreas posted at Kezira, in which they've several socially engaged tracks.These songs are mainly in southern vernacular languages. I hail from about 1100 kms further up North and, though I understand the basics fairly well, I don't have the required baggage to fathom the linguistic and literary subtleties inherent to these dialects. Neither can I contextualize the songs since I don't know if, as was common during the military dictatorship, some of the songs were meant as protest double entendres, were adopted as such by the general public, if events were associated with them etc. That's why I'd rather not venture into summarizing, let alone publicly interpreting, the lyrics. Nevertheless, all the songs are conspicuously about love and I've tried to translate the tracktitles. Corrections are, of course, most welcome!The following six songs are from the soundtrack of "Rafaad iyo Raaxo" ("Misfortune and Comfort"), a 1986 tragicomedy that was also filmed a couple of years later. "Duruuf Maa Laygu Diidee" means "Rejected Due to My Circumstances." The vocals are by Muktar "Idi" Ramadan:In this song vocalist Shimaali Axmed Shimaali pleads, "Oh, Saafi! I Won't let You Go" (Saafi is a female name):"Waanada Waxtarkayga Waaye" means "This Advice Does me Good/I'm Well Advised." Vocals by Cabdullaahi Shariif Baastow & Maryan Naasir: "Muraadkay Waa Hellee" means "We've Reached Our Goal." Vocals by Muktar "Idi" Ramadan & Sahra Dawo:"Ma Hurdee" ("I Can't Sleep"). Vocals by Sahra Dawo & Muktar "Idi" Ramadan:"Rafaad iyo Raaxo" ("Misfortune & Comfort"). Vocals by Sahra Dawo & Muktar "Idi"Ramadan:These next songs are from two tapes without album or song titles. The track names are thus the popular titles under which the songs were dubbed by the public (see the post on Iftin). "Waxan Sugi Ma Helayaa?" ("Shall I Get What I'm Waiting For?") is also known as "Saqda Dhexe Riyadiyo Sariir Maran" ("Midnight Dream in an Empty Bed"). Vocals by Sahra Dawo:"Shaacaan Ka Qaadaa" ("I'm Revealing all of it") is also known as "Shallay Ma Roonee" ("Remorse Is Pointless"). Vocals by Sahra Dawo & Cabdullaahi Shariif Baastow:
Dur Dur - Shaacaan Ka Qaadaa"Rag Kaleeto Maa Kuu Riyaaqayee?" ("Are Other Men Admiring You?"), aka "Reerkaagaa Joogee" ("Stay With Your Family"). Vocals by Cabdullaahi Shariif Baastow:
Dur Dur - Rag Kaleeto Maa Kuu Riyaaqayee?Cilmi Ismaaciil Liibaan (better known as Boodhari) is the main protagonist in a true love story that took place in in the 1930s in Berbera, a town in the current Somaliland. He was in his thirties when he fell head over heels in love with Hodon, a teenage girl whose parents were opposed to a relationship between the two due to the difference in age and social class; he worked in a bakery and she belonged to one of the richest families in the area. Hugely burdened and dismayed by the unrequited love, Boodhari composed numerous poems and songs about this forbidden love. Hodon eventually got married to another man and, though this is not corroborated by watertight evidence, Boodhari became so disconsolate that he finally committed suicide. It's not established beyond doubt that all the poems and songs attributed to Boodhari were indeed written by him, but his legend and compositions have certainly been part and parcel of Somali love stories ever since. The song "Boodhari Sidiisii" ("In Boodhari's Footsteps") is also known as "Maruun ii Bishaarey!" ("Surprise Me Once With Good News!"). The vocals are by Cabdullaahi Shariif Baastow:"Doobnimaadey Maka Dogoownee" ("Getting Old Single") is also known as "Dersi Anaa Lahaa" ("I Need A Lesson [In Love]"). Vocals by Sahra Dawo:
Dur Dur - Doobnimaadey Maka Dogoownee"Oh, Angelic Beauty!" Vocals by Cabdullaahi Shariif Baastow:The title of this song means "A Joking Madman." Vocals by Cabdullaahi Shariif Baastow & Sahra Dawo:"Waxla Aaminaan Jirin" ("Nobody To Confide In/NothingTo Trust"), aka "Is Yeelyeel" ("Simulation, Pretense"). Vocals by Sahra Dawo:Download these songs as a zipped file here.
Wednesday, April 13, 2011
Lapiro de Mbanga Freed!
By way of Makossa Original and Freemuse we receive the happy news that Camerounian musician Lapiro de Mbanga was freed April 8 after three years of harsh imprisonment.Lapiro was arrested following riots in 2008 against the high cost of living and constitutional changes that made Cameroun's kleptocratic president Paul Biya eligible to run for re-election indefinitely. He ran unsuccessfully in local elections on the opposition Social Democratic Front slate in 2006 but the precipitating event for his arrest and sentence seems to have been his song "Constitution Constipeé," a critique of the Biya regime that became the unofficial anthem of the protests.The past three years have seen an international campaign on behalf of Lapiro, which apparently fell on deaf ears. He served every day of his sentence.Join me in celebrating the release of Lapiro De Mbanga with his wonderful album Ndinga Man (Energy Productions NE 5003), which was released in the late '80s:Download Ndinga Man as a zipped file here, and enjoy this video, "Everybody to Kondengui Prison," about which Dibussi Tande says, ". . .In this fiery and no-holds-barred song released last year [2007], Lapiro lashes out against the symbols of decay in today's Cameroun: A regime in power which has turned its back on all the nationalist slogans of the early years; generalized corruption that has affected every stratum of society ; an insolent and arrogant ruling elite brazenly parading symbols of ostentatious consumption (vulgar SUVs out of place on Cameroon's roads, huge castles amidst appalling squalor, some shown in the video). . .":
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