Here's another classic from the last "Golden Age" of Congo music, the 1980s!
Wuta Mayi is best known as a member of two Congolese "super groups" - Les Quatre Étoiles, which launched in the early '80s, and Kékélé, from the early years of this century. However, he's had an illustrious career not only guesting on many others' recordings over the years but as a solo artist. He got his start with Jamel National in 1967 and the next year jumped over to Orchestre Bamboula, led by Papa Noël. He was invited to join le Tout Poussaint OK Jazz by Franco in 1974, where he stayed for eight years. The launching of Le Quatre Étoiles in 1982, uniting the talents of Mayi, Nyboma Muan'dido, Bopol Mansiamina and Syran Mbenza, supercharged the African music scene, taking it to new audiences around the world.
In between stints with Les Quatre Étoiles Wuta Mayi found time to record a number of solo albums including today's offering, Tout Mal Se Paie Ici Bas (Soweto Records 002, 1984).
An extra special bonus for this LP is the presence of Souzy Kasseya, whose brilliant guitar work enlivened many recording sessions from Kinshasa to Abidjan to Paris back in the '80s. Kasseya had a smash hit in France in 1983 with "Le Téléphone Sonne." Many years ago I posted another tune by him here on Likembe, which you can find here. Souzy's worth a post of his own in the future. In fact, I think I'll do that! In the meantime, enjoy this slice of sweet Congo soukous! Wuta Mayi - Tout Mal Se Paie Ici Bas
Download Tout Mal Se Paie Ici Bas as a zipped file, complete with album and label art, here. Biographical information in this post courtesy of the liner notes of Rumba Congo (Sterns STCD 1093, 2001) by Kékélé, available here.
A few weeks back I got a request for something by Woya from Ivory Coast and I'm happy to comply! The group was formed in 1984 and their fusion of funk, zouk and Ivoirian tradition became the rage of West Africa in 1986 with the release of the hit LP Kacou Ananzé (African 425.004).
The group broke up in the late '80s and has re-formed several times over the years but the core has always been Marcellin Yacé on keyboards and vocalist David Tayorault, who on their own have been major powers in the Ivoirian music scene. Today's offering, the cassette La Tradition en Mouvement (EMI W.CORP01), was released in 1992 during a brief revival of the group. Woya was resurrected again in 1998, but since Yacé was killed by a stray bullet during an attempted coup in 2002 it's doubtful that there will be another incarnation.
I have Kacou Ananzé also and will probably post it some time in the future. For now, enjoy La Tradition en Mouvement!
I've been unable to find out much about Asare Bediako, who is responsible for today's offering, the very enjoyable Lovers Hi Life (Highlife World HW 2017) from 1986. I believe, however, that he is the "Sam Asare-Bediako" who has acheived fame as a composer and arranger of Christian devotional music in his native Ghana:
Whatever. Lovers Hi Life is a pretty good example of the sort of synth and drum-machine driven "Burger Highlife" music that became popular in the 1980s. Enjoy!
Congolese musician Pablo Lubadika Porthos began his career with several local assemblages in the 1970s, including Kin-Bantou, Lovy du Zaïre and Orchestre Kara before moving to France and becoming ubiquitous as a session musician during the heyday of the Paris-based Congo music scene of the '80s. He cut several fine solo albums as well, including today's offering, Ma Coco (Afrohit Discafrique DARL 019), from 1981.
Two tracks from Ma Coco were featured, in truncated form, on the influential compilations Sound d'Afrique (Mango MLPS 9697, 1981) and Sound d'Afrique II: Soukous (Mango MLPS 9754, 1982). Other recordings from Pablo are available for streaming from Apple Music and, I believe, other platforms. Enjoy!
As readers may be aware, I've had a long-time interest in Nigerian music and feature it often here at Likembe. However, all of the music I've posted here has been from the southern part of the country and of this the majority has been from two ethnic groups, the Yoruba and the Igbo. Nigeria, though, is a huge country of 186 million residents, who speak over 500 languages. Of these, along with the Igbo and Yoruba, the largeest nationality is the Hausa, who predominate in the northern part of the country. Nigeria's cultural diversity, a product of British colonial rule, has been a blessing and at times a curse.
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"
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.)
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:
Here's another in Likembe's continuing series of releases by Tanzania's legendary DDC Mlimani Park Orchestra, this one a little-heard LP from 1989, Dua La Kuku (Polydor POLP 589). I can't say too much about this one - contrary to the photos on the album sleeve, it seems to feature a stripped-down lineup for the band, at least their sikinde sound isn't as "beefy" as usual. It's fine music nonetheless. Tucheze sikinde! "Let us dance sikinde!"
Ghana's highlife great Pat Thomas has been experiencing something of a career renaissance lately. 2015 saw the release of Pat Thomas & Kwashibu Area Band (Strut STRUT126CD), his first new recording in many years, and in 2016 a 2-CD retrospective of his recordings from 1964 to 1981, Coming Home (Strut STRUT147CD) hit the scene.
Thomas has been around for many years. He was born into a musical family in 1951 (his uncle was the legendary King Onyina), but got his first big break in 1966 when he made the acquaintance of Ebo Taylor, a musician who had studiend in London with Nigeria's Fela Ransome-Kuti. Thus began a musical partnership that would continue on and off for many years, producing a number of fine recordings and revolutionizing the Ghanaian music scene.Together, with Ebo on guitar and Pat as arranger and vocalist, they played in the Broadway Dance Band and the Stargazers, two of the most important orchestras of the era. Thomas's breakthrough as a highlighted artist came in with the release of 1974's False Lover (Gapophone LP 02), recorded with the Sweet Beans, official band of Ghana's Cocoa Marketing Board. A few tracks from this landmark recording are included in an earlier post here on Likembe.
Ghana's political and economic travails in the early '80s impelled many musicians overseas, to London, Germany and Toronto, which gave rise to new and exciting permutations of the highlife sound. Ghanaian musicians in Germany, where Thomas lived for a time, developed a disco/highlife hybrid called "Burger Highlife," which took Ghana and its diaspora by storm. In the late '80s Thomas made the journey to Toronto, joining a vibrant Ghanaian exile music scene which included at times musicians like A.B. Crentsil, Alex Konadu and Joe Mensah. He would remain in Canada for ten years, returning to Ghana in 1997.
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 andother Yoruba musical styles, and Musiliu is ably carrying on his father's work.
Now, this is an album I've been wanting to post for a long time!
Orchestra Simba Wanyika (Swahili for "Lion of the Jungle") was founded by the brothers Wilson Peter Kinyonga and George Peter Kinyonga of Tanzania, who joined the popular Jamhuri Jazz Band in 1966, where they served four years before leaving in 1971 to form the Arusha Jazz Band. A move to Mombasa, Kenya and a name change and in 1973 Simba Wanyika was born! They were to play a crucial role in the East African music scene for more that twenty years, giving rise, directly and indirectly to a plethora of other groups: Les Wanyika, Wanyika Stars, Orchestra Jobiso and many others. For more information about Simba Wanyika and its offshoots, go to the discography I authored with Doug Paterson and Peter Toll some years ago.
Haleluya (Polydor POLP 552, 1985) marks the high tide of Simba Wanyika's influence and creativity, following a flock of hit songs and right at the moment cassette tape piracy began to cripple the East African music scene. The band would go on to tour in Europe in 1989 and internationally in 1991, when they recorded their only world-wide release, Pepea (Kameleon KMLN 01, 1992). Sadly, George Peter Kinyonga passed away on Christmas Eve 1992 after a brief illness, and Wilson followed him in 1995. Although there was at least one recording made under the "Simba Wanyika" tag without the brothers, the band dissolved shortly after.
Two cassettes from Ivory Coast, both by the outstanding ensemble Système Gazeur, one of the many zouglou groups that emerged in that country in the late 1980s and early '90s. About the band I've been able to find little. I can tell you that zouglou arose on the college campuses partly in response to the crisis afflicting the educational system, and accompanied protests against the situation. In the words of a popular tune at the time by the artist Digbeu:
We're tired of your pretty speeches,
Tired of the unemployment rate,
Tired of all these untouchables,
Tired of your hospitals,
Tired of insecurity,
Tired of all these hold-ups.¹
Système Gazeur, in Ambiance Facile (EMI E06991-4, 1991) reject the electronic affectations of more recent zouglou artists like Magic System, Sur-Choc and Esprit de Yop, opting for a more organic, traditional vocal and percussion sound. It's truly execptional!
Mamie Ton Alloco (EMI E0106292-4, 1992), on the other hand, is well within the zouglou mainstream, with the full complement of drum machines and synth (and apparently a much-reduced lineup). It's nonetheless a great release, an excellent representative of the genre:
