Oliver "Tuku" Mutukudzi has been called "The Otis Redding of Zimbbawe," a comparison that has always irritated me. Oliver Mutukudzi isn't the Otis Redding of Zimbabwe, he's the Oliver Mutikudzi of Zimbabwe - his music stands on its own, it's unique and incomparable. Moreover, these sort of analogies, well-meaning, often made by publicists and music journalists, seem really ethnocentric, as if American or European music is the baseline against which all other music is defined.
End of rant. Born in 1952, Oliver grew up in Highfield, the historic African "ghetto" of Harare (called Salisbury under Ian Smith's racist Rhodesian regime) and learned to play a homemade instrument from a book called "It's Easy to Play the Guitar." He started singing gospel music and in 1975 joined Thomas Mapfumo in the Wagon Wheels band. By the '80s, as a solo artist, he had acheived massive fame in Zimbabwe, with many best-selling singles and albums and growing popularity across Southern Africa. By the turn of the century, several international releases and tours had made Mutukudzi, along with Mapfumo, one of the two most popular Zimbabwean musicians in the world.
Here is Nzara (Kudzanayi BL 459), a 1983 release that showcases Tuku at the peak of his powers, his soulful voice soaring above inspired arrangements and a variety of styles. Enjoy!
The Okukuseku International Band, led by Sammy Koffi, was a Ghanaian group that made its way to Nigeria in the '70s and built an enduring career there. In this Okukuseku was not alone: the '70s oil boom was like a giant magnet that drew musical talent from across Africa. When the Nigerian economy crashed in the '80s these musicians were all sent packing. Sammy and Okukuseku apparently also retreated to Ghana, but by 1989 they were back in Nigeria, where today's offering, Beautiful Woman (His Master's Voice/EMI Nigeria HMV (N) 061), was recorded.
Sammy Koffi himself started out with K. Gyasi's band in Ghana in the '60s, before leaving to form Okukuseku's No. 2 Guitar Band in 1969. I've been wanting to post something from Okukuseku for a while. Thing is, quite a bit of their material has been posted on various blogs already, notably Moos's Global Groove, which has an extensive selection. Beautiful Woman, to the best of my knowledge, has not been made available before. In fact, it's not even included in Discogs' extensive listing. So, double bonus!
The title song, "Beautiful Woman," seems to draw on the same sentiment as, if it's not directly inspired by, Jimmy Soul's 1963 smash "If You Want to Be Happy," but I really enjoy the extended jam that takes up Side Two of this LP. I hope you'll enjoy it also!
Download Beautiful Woman as a zipped file here. Side A of this pressing was off-center, resulting in a slight "wow." My apologies, couldn't do anything about it!
No sooner had I posted Likembe's last offering then I realized that I had another, similar pressing. Orchestres Kamale et Kiam was issued in 1981 by Rogers All Stars records in Onitsha, Nigeria on license from Editions Vévé in Kinshasa, reference number VOZ 1003. I now present Voice of Zaïre Vol. 1, VOZ 1001 in the same series. I presume there is a VOZ 1002 and even other volumes, but I've been unable to find out about any. Although they were issued in the '80s in Nigeria, the songs on these collections were all recorded in the '70s.
It all goes to demonstrate the great popularity of the Congo sound in Eastern Nigeria during the '70s and '80s, and especially the productions of Kiamwuangana Mateta "Verckys."
Perusing Alastair Johnston's excellent overview, "Verckys and Vévé: A Critical Discography," I see that the songs in this collection haven't had a lot of distribution outside of Africa. Several were featured in the Sonodisc/African "360" series issued in France, now long out of print. A couple were included on CD reissues and may still be available in that format. Nonetheless, listening to these tracks should evoke a sense of déjà vu. They've been remade numerous times and included on medleys by such artists as the Soukous Stars and Soukous Vibration. Moreover, they acheived such widespread distribution back in the day that they're part of the DNA of African music from Kenya to Senegal. A comment on YouTube about Orchestre Kiam's "Masumu" is representative: "...I was a little boy at that time when my late Daddy and his Seamen friends used to rock those songs on a 45 rpm turntable. Guinness was 30c, Heineken 25c in Sierra Leone. Music is sure History...."
All of these bands have been featured on previous Likembe posts, which you can access here. Another version of Orchestre Vévé's "Lukani" was included on this post.
Today's post covers some old ground - classic orchestras from the stable of wunderkind Kiamwuangana Mateta, aka "Verckys," the musician and producer who blew up the Congo music scene back in the 1970s. A lot of this music has been posted in other venues, in fact a couple songs were featured here previously at Likembe. Still, I thought it would be useful to post Orchestres Kamale et Kiam (Vévé-Rogers All Stars VOZ 1003, 1982), as it gives an insight into the sort of Congolese sounds that Nigerians were listening to in the '70s and '80s. This LP was licensed from Verckys' label Vévé and pressed in Nigeria by Onitsha-based Rogers All Stars.
Side One of the LP features Orchestre Kiam, Side Two Orchestre Kamale. As was often the case at the time, at least for Nigerian releases of Congo music, most of these tracks are not complete, featuring only one side of the 45 versions. If you're interested, I've provided a link at the end of this post so you can download the complete versions.
My friend Matt Lavoie, formerly of the Voice of America, currently proprietor of the essential Wallahi le Zein! blog and Orchestre Kiam fanatic, has done the monumental work of compiling an oral history of the band. Do yourself a favor by going to his site, downloading and reading it and also downloading an almost-complete collection of their recordings. In Matt's telling, the musicians who became Kiam were "poached" by Verckys in 1973 from Papa Noel's Orchestre Bamboula when he brought them into the studio for a recording session! He christened the group after his own first name, and under his supervision they recorded a series of hits that made them a sensation in Kinshasa and throughout Africa.
Success, and Verckys's stifling sponsorship, brought dissension, and in 1975 a group of band members decamped to form Orchestre Baya-Baya, named after one of the group's early hits. With a new lineup, and with most of the defectors returning to the band after a while, Kiam acheived even greater heights, releasing in 1976 "Kamiki," their biggest hit ever, and a pan-African smash. By 1983 Orchestre Kiam had been dissolved, but alumni have played important roles in the Congo music scene to this day.
Orchestre Les Kamale is perhaps better known internationally thanks to the success of its leader Nyboma Mwan'dido. Nyboma was a singer with the Vévé group Orchestre Lipua-Lipua in 1975 when he split off to form Orchestre Les Kamale. This group divided in turn in 1978, a number of musicians leaving to form Orchestre Fuka Fuka and Nyboma reorganizing the remnant. Nyboma then broke with Verckys and set off on a journey across Africa and eventually to Paris, in the meantime recording the classic LP Double Double, which received international distribution. He's well-known both as a solo artist and as a member of Les Quatre Etoiles, the Congolese super-group.
Download OrchestresKamale et Kiam as a zipped file here. Click here to download complete versions of "Baya Baya," "Moni Afinda," "Ayi-Djo" and "Masua."
He was born in 1946 in Curral Velho on the island of Boa Vista. At the time Cape Verde, along with its sister countries Guinea-Bissau, Angola, Mozambique and São Tomé & Principe, were under the heel of Portuguese colonialism, and over the years armed resistance movements grew in opposition. Cape Verdean men over the age of 16 faced conscription to fight in these wars, so at the age of 13 Lima emigrated illegrally to Ivory Coast, where he took up typography. Moving on to Senegal, and then to Paris in 1969, he joined the Partido Africano da Independência da Guiné e Cabo Verde (PAIGC), a liberation movement devoted to the independence of Cape Verde and Guinea-Bissau, and began his career as a musician. The lyrics of Lima's songs in this period are marked by his devotion to the liberation of Cape Verde and African people, for instance "Cabral 1924-1973," dedicated to the memory of Amilcar Cabral, the assassinated founder of the PAIGC.
The liberation movements in Portugal's African colonies were successful to such a degree that they brought about the collapse of the Portuguese government itself, the Carnation Revolution of April 25, 1974, and independence for the African countries. Abel Lima returned to Cape Verde in 1974 to participate in its renaissance, and here recorded "Corre Riba, Corre Baxo," a stinging denunciation of the exploitation of African exiles in Europe. Unfortunately, family and economic necessities forced him to return to France.
It was during Lima's second French sojourn that he hosted a radio program, "Prends l'Afrique et Tire-Toi," and recorded today's offering, a 1983 LP by the same name (Radio Rivage AL 07). The backup band, Voz di Povo, draws on the ample supply of African musicians in Paris, including Congo's Maïka Munan, Ballou Canta and others. The result is a unique blend of Cape Verdean sounds and soukous. Delightful!
Over the years Abel Lima made a living in the printing industry in France while recording a number of albums as an avocation. After retiring in 2003 he returned home to Curral Velho, where he passed away in October 2016.
Just about everyone in the United States who started collecting African music in the 1970s and '80s is familiar with the productions of Brooklyn's African Record Centre, with its labels Makossa, Star Musique and others. Back in those days it was pretty much the only source in the US for authentic African music, by which I mean the sort of stuff that's listened to in Africa itself. The ARC licensed many recordings by Fela Ransome-Kuti (later Fela Anikulapo-Kuti), then only known to a small but devoted coterie. It released a raft of funky Ghanaian guitar-highlife records, recordings by Franco and other "Zaïrean" artists, 12" benga records produced by Kenya's indomitable P.O. Kanindo, and an amazing series by the US-based Sierra Leonean group Muyei Power, some of which have been gathered into a retrospective by London's Soundway Records.
These recordings would make their way through obscure distribution channels to record stores throughout the land, where perplexed clerks would stash them in the "International" bin along with records by Nana Mouskouri and Heino. "World Music™" had yet to be born!
By 1983 I had already been a fan of Fela's for a while, King Sunny Adé had made a splash, and in 1981 and '82 Mango Records had released two compilations of African music, Sound d'Afrique and Sound d'Afrique II: Soukous, both of which were revelations but especially the second, which showcased the music of the Democratic Republic of Congo, then called Zaïre. So, during a trip to New York City I had to make a pilgrimage to 1194 Nostrand Ave. in Brooklyn, this Mecca of African sounds.
I have to say the store was everything I'd hoped for, crammed to the gills with not only ARC's own productions but even more mysterious imports actually pressed in Africa! I wasn't exactly flush with cash at the time - I could only afford five LPs. I got a couple of Sunny Adé Nigerian pressings, and a French reissue of Fela's Coffin for Head of State. What would the fourth and fifth ones be? I liked the Zaïrean music I'd heard - could the clerk make a recommendation? It turned out Makossa had just released a number of recordings from that country, including the one the clerk handed over - Kele Bibi: Rochereau Vol. 8 (Disco Stock Makossa DM 5001, 1982), by an artist I'd never heard of - "Seigneur Tabu Ley."
I'll admit I looked at this record with some skepticism. Who was this middle-aged, rather paunchy fellow in a cheesy Elvis-style white jumpsuit and cape? But when the clerk put the record on the turntable I was sold! I got that one and a second record, Mpeve Ya Longo: Rochereau Vol. 7 (Disco Stock Makossa DM 5000, 1982), this one featuring Tabu Ley and a female singer, M'Bilia Bel:
According to Wikipedia, Pascal-Emmanuel Sinamoyi Tabu was born November 13, 1937 or 1940 in Bagata, in what was then the Belgian Congo. He came by his nickname "Rochereau" after correctly naming the French general Pierre Philippe Denfert-Rochereau in a quiz at school. In 1956 he joined African Jazz, the musical congregation of Joseph Athanase Tshamala Kabasele, or Le Grand Kallé, considered the father of modern Congolese music, and notched a number of hits with the group before leaving with Nicolas Kasanda wa Mikalay (known as Docteur Nico) in 1963 to form African Fiesta. This group split in turn in 1965, Rochereau forming African Fiesta National, renamed Afrisa International in 1970. Around this time he also took on the stage name "Tabu Ley" as part of President Mobutu Sese-Seko's Authenticité campaign.
During the '70s Afrisa International vied with Franco's TPOK Jazz and other groups to popularize Congolese music around the world, making it the most widespread and popular style across Africa. During this period Afrisa performed at the legendary Zaïre '74 concert, during FESTAC '77 in Lagos, and at the Olympia Theater in Paris.
It was Rochereau's lovely voice that made him a star, instantly recognizable on such classic tunes as "Afrika Mokili Mobimba" and many others, but it was his stage show and musical innovations that kept him on top for many years. Elvis, of course, was an inspiration, but so were James Brown and other American R&B stars. He even did a cover of the Beatles classic "Let it Be"
M'Bilia Bel (born Marie-Claire M'Bilia M'boyo in Kinshasa in 1959) got started as a singer and dancer with Abeti Masikini. Here she was spotted by Tabu Ley and invited to join his female backup group, the Rocherettes.She performed with them for a few years before making Mpeve Ya Longo with Ley,her recording debut. She was an immediate hit and soon cut a solo album, Eswi Yo Wapi (Genidia GEN 102, 1983), with more recordings, solo and with Tabu Ley, to follow. The pair were soon married, with Bel as the junior wife in Rochereau's polygamous marriage.
The two albums showcased here, Mpeve Ya Longo and Kele Bibi, come at an interesting inflection point in the careers of the two artists. The following year, 1983, would see the release of several recordings on Rochereau's Genidia label that catapulted the pair to international fame, with more to follow over the next few years. A compilation on the Shanachie label, Rochereau (43017, 1984) introduced them to US audiences. A few years ago Sterns Music released The Voice of Lightness Vol. 2 by Tabu Ley (STCD 3056-57, 2010) and Bel Canto by M'Bilia Bel (STCD 3037-38, 2007), which showcase the best music of the Genidia years.
The sound of Mpeve Ya Longo and Kele Bibi is subtly different from the Genidia recordings. I don't know if it's because of different recording engineers or what, but the mixes here are looser-sounding, less polished and push the vocals to the forefront while making way for some really inspired instrumental jams. Truly infectious!
After several years and one child together, the personal and professional partnership of Tabu Ley and M'Bilia Bel came to an acrimonius end in 1987, allegedly over disrespect shown by Bel to Tabu Ley's senior wife, Mimi Ley. Whatever the reason, Bel's career on her own, after a promising start with 1988's Phènomené(Mbilia Production MCB 001), has declined over the years, although she continues to record and tour.
Following Bel's departure, Rochereau hooked up with two new female singers, Faya Tess and her sister Beyou Ciel, and continued to record and tour internationally. After the fall of Presidnet Mobutu Sese-Seko in 1997 he took a cabinet position in the new government of Joseph Kabila and followed that up with several other positions over the years. He passed away on November 30, 2013 in Belgium and was buried in Kinshasa after an official mourning ceremony.
Download Kele Bibi as a zipped file here. I have Vols. 5 and 6 of this series also, and I might post them in the future.While researching this post I came across this rare video, which reunites Rochereau with his old partner, Docteur Nico. I suspect this was recorded in the early '80s, shortly before Nico's death, but he's in stellar form! Turns out this was uploaded by Stefan Werdekker of the excellent WorldService blog. Thaks, Stefan!
Here's an LP that my old friend Steve Kamuiru brought me from Kenya back in the early '90s. I have been unable to find out anything about Aziz Abdi Kilambo, but from his name and style of dress I would speculate that he is from the coastal area of Kenya. Somebody correct me if I'm wrong! Likewise Orchestra Benga Africa's sound has a more languid (coastal?) rumba feel to it. Talanta (Polydor POLP 615, 1991) is an enjoyable excursion indeed!
About ten years ago I devoted a post to the Senegalese jazz/funk group Xalam, then celebrating their fortieth anniversary. It seems that Xalam is still around, and going strong! So next year will mark the fiftieth anniversary of this very influential combo.
Xalam has been a home for many Senegalese musicians who have gone on to acheive fame as solo artists and session musicians. Among these are founding members Seydina Insa Wade, Idrissa Diop and Cheikh Tidiane Tall. As well, the group has opened for Western acts including Crosby, Still and Nash and Robert Plant. Xalam's percussionists were featured on the Rolling Stones' 1983 LP Undercover.
Here's a video of the group with the legendary Senegalese percussionist Doudou Ndiaye Rose:
And here for your listening pleasure is Xalam's 1993 cassette Samanka. Enjoy!
I posted four tracks from Pat Thomas's 1974 album False Lover (Gapophone GAPO 02) almost ten years ago. Recently a reader asked that I post the whole LP. Pat's been experiencing a career renaissance lately, and he's been a mainstay of Likembe, so I couldn't think of a good reason why not! False Lover was Thomas's first solo LP after stints with the Broadway and Uhuru Dance Bands. As he states in the liner notes of the retrospective, Coming Home: Original Ghanaian Highlife & Afrobeat Classics 1964-1981 (Strut STRUT 147, 2016):
...I was planning to go to Europe but the Cocoa Marketing Board in Ghana got in touch and wanted me to form a new band. So, I went back to recording and writing music with Ebo [Taylor] and formed the Sweet Beans. The album featuring the band, False Lover, was my first album under my own name and it was very special for me. Reggae was "on" at that time and Jimmy Cliff was the top singer so I was trying reggae in his style on tracks like "Revolution" and "False Lover." I was open to all styles, though, and would always try whatever sounds were coming in. False Lover was a big album in Ghana ...
The first four tracks of False Lover are indeed reggae, but the rest of the album is straight-ahead danceband highlife, and very successful. Enjoy!
I've been posting some of the many Hausa cassettes from northern Nigeria in my collection with a bit of anxiety. It's not a genre I'm terribly familiar with - most of the documentation online is in Hausa. In terms of rhythm and orchestration, let's just say this music is not terribly ostentatious. Hausa music's attractions seem to lie in the quality of the lyrics, which I'm told can be poetic, legendary and amusing. But since I don't know Hausa or anyone who does, I can't tell you anything about them, other than what I can glean from the internet.
Still, Google Analytics and download statistics from Mediafire tell me that my Hausa postings have garnereed a fair amount of interest, so I'll keep putting them up here. Maybe someone reading this who knows Hausa can help fill in the blanks for us.
Today's featured artist, Alhaji Audu Wazirin Danduna (above), was one of the more popular Hausa bards. He passed away on July 6, 2013 after a long career marked by many beloved songs, including "Alhaji Abubakar Sarkin Karaye" ("Great King Abubakar") and "Dan Adam da Kudi" ("Between Man and Money"), both of which are included on our featured cassette, Harka Sai Da Kudi (EMI Nigeria HMV 032). The second song is the subject of a scholarly paper by Aminu Ali at Bayero University in Kano, "Money and Social Interaction in Simmel’s Philosophy of Money and Audu Wazirin Ɗanduna’s Ballad Tsakanin Ɗan'adam da Kuɗi," which you can download here. Ali writes:
...Wazirin Ɗanduna, in this ballad, Tsakanin Ɗan’ adam da Kuɗi, portrays his perception of the character of money in modern society. His skilful vignette of the character of money and analysis of how it transforms social relationships was similar to Simmel’s philosophy of money. He, like Simmel, sees money as a component of life that aids an understanding of the totality of life. He is of the view that reification, cynicism, a blasé attitude, and impersonal relationships and individualism characterized social life in a money economy. Wazirin Ɗanduna repeatedly narrates, in different stanzas, that money creates and expands social networks among individuals and its possession is inevitable for an individual’s continuous social existence. For instance, he sings:
Hausa:
Wazirin Ɗanduna: Yanzu ba ka mutane sai kana da kuɗi
’Y/Amshi: Tsakanin Ɗan’ adam da Kuɗi
English:
Wazirin Ɗanduna: People relate with you only if you have money
Chorus: Money and a man
Hausa:
Wazirin Ɗanduna: Yanzu duk wata harka sai kana da kuɗi
’Y/Amshi: Tsakanin Ɗan’ adam da Kuɗi
English:
Wazirin Ɗanduna: Every deal nowadays is traced to money
Chorus: Money and a man
In the two stanzas above, Wazirin Ɗanduna also expresses the tragedy of culture; people indispensably need money (the objective culture) in order to relate with others and be functioning members of society, which paves the way for self-reflection and development of self-consciousness (the subjective culture). This means that money has assumed a life of its own, exerting independent influence on the humans who created it.
The impersonal nature of money has also been stressed by Wazirin Ɗanduna. He, like Simmel, affirms that people are connected only by an interest that can be expressed in monetary terms. He also indicates in the stanzas following that money, rather than individuals’ personal qualities and social ties, shapes our everyday dealings with others. In other words, it depersonalizes relationships between individuals; it makes an individual’s personal attributes, other ties, etc. immaterial. For instance, when he says ‘no deals without money’ and ‘every deal nowadays is traced to money,' he underestimates the influence of blood and social ties or, more precisely, envisions them as withering away in modern time. Wazirin Ɗanduna says:
Yanzu ba wata harka sai kana da kuɗi ‘No deals without money’ Yanzu duk wata harka sai kana da kuɗi ‘Every deal nowadays is traced to money’ Akan so mummuna saboda kuɗi ‘Someone ugly is desired because of money’ Ka ga ana ƙin kyakkyawa saboda kuɗi ‘And someone beautiful is rejected because of money
Wazirin Ɗanduna was also interested in analyzing the reification that characterized a money economy. He identifies certain attributes that were hitherto non-monetary, but are nowadays treated as if they are concrete or material things. He specifically emphasizes respect, truth and love as abstract things that are tied to money in the stanzas quoted beneath:
Ko girma ma sai kana da kuɗi ‘Prestige is only tied to money’ Kuma akan yi rashin girma saboda kuɗi ‘And one falls from grace because of money’ Ana ɗaukar magana saboda kuɗi ‘Command is obeyed because of money’ Ana ƙin magana saboda kuɗi ‘And command is disobeyed because of money’ Ana raba ka da girma saboda da kuɗi ‘You can be snubbed without money’ Ҡaramin yaro saboda kuɗi ‘A boy with money’ Ana masa ban girma saboda kuɗi ‘Is respected because of money’ Ana take ƙarya saboda kuɗi ‘a lie is often covered-up because of money’
In the stanzas above, Wazirin Ɗanduna explicitly shows that respect and disrespect are associated with money. He also shows that lies can be covered up and treated as truths because of money. This means that respect and truth are treated as if they are commodities that have prices. To further illustrate this point, he narrates that:
Ko Alhaji ya zo sai ka na da kuɗi ‘Alhaji’s presence is recognized only if he is affluent’ Alhaji ko baya nan don saboda kuɗi ‘Alhaji’s absence is noticed because of money’
In the preceding stanzas, he shows that Alhaji’s (used in this context to refer to a head of a family) presence or absence is recognized even by the members of his family only because of money. This means one’s position in the family does not determine the respect accorded to him or his influence on other members of the family – what determines these things is his or her material position.
Wazirin Ɗanduna also shows that reification has resulted in a blasé attitude; people are unperturbed by certain virtues, they are rather concerned with excessive materialism. To stress this, he, like Simmel, uses marriage for material gain as an example. Wazirin Ɗanduna demonstrates that material consideration assumes more prominence in choosing a marriage partner than genuine personal affection, state of health, temperament, physical appearance, and other non-material virtues possessed by the chosen partner. Wazirin Ɗanduna explicitly shows this in the stanzas below:
Ana auren gurgu saboda kuɗi, ‘A paraplegic is often married because of money’ Ana ƙin mai kafa saboda kuɗi ‘And yet a healthy person is disliked because of money’ Ana son mummuna saboda kuɗi, ‘Someone ugly is desired because of money’ Ka ga ana ƙin kyakkyawa saboda kuɗi ‘And someone beautiful is also rejected because of money’.
The aforesaid stanzas indicate that physical deformities, ugliness and beauty are ignored or, to put it differently, are less important in selecting a partner. What is most important is the material status of the partner. This means money has made people develop a blasé attitude with respect to these virtues (beauty, truth, temperament, fitness, etc.)...
I hope Dr. Ali won't object to me posting this extensive extract from his paper. I think we're all interested in putting the music we listen to into context.
