King Sunny Adé: Juju Music of the '80s

Kudos to the blog Music Republic for posting the great 1981 King Sunny Adé LP Check "E" (Sunny Alade Records SALPS 26). I've been inspired in turn, and  I will be posting two more 1981 offerings from Sunny (he was very prolific - he released five albums in 1981 alone!)

Today's offering is Juju Music in the '80s (Sunny Alade SALPS 24), and in a few days I will post The Message (Sunny Alade SALPS 25).

These albums were released only in Nigeria, right before the monumental Juju Music (Island ILPS 9712). That was Sunny's first international release, which put jùjú music on the map and launched his career as a world superstar. Unlike that album, which was tailored somewhat for global tastes (but still great), this one sticks to the Nigerian convention of long jams that fill each side of an LP record. Enjoy!

King Sunny Adé & his African Beats - Osupa Mi Tole / Bi Ko Seni Akii Gbon / Ibi Lero Siwa / Ota Ile Pada Lehin Mi

King Sunny Adé & his African Beats - Ara Nfu Mi / Oro Fi Sibe / T'Oluwa Ni O Se / Alhaji Abud U Amoo (Shola Motors)

Download Juju Music in the '80s as a zipped file here.

Etoundi Aloa's Bikutsi

The "Patriarch of Bikutsi," Etoundi Aloa Javis, joined his ancestors on November 6, 2017. Shortly before his death he was honored at the annual "Festi-Bikutsi" celebration in Yaoundé, Cameroun.

I've been unable to find out much about Mr. Aloa, who recorded a number of albums and singles in the '70s and '80s, under his own name and as Javis & les Idoles. His early-'80s LP, Ma Yem Ya? (Africa Oumba AOLP 015), is an example of bikutsi at its best. Enjoy!

Aloa Javis - Ma Yem Ya?

Aloa Javis - Mengabo Wo Dze

Aloa Javis - Dze Ene Nkenga

Aloa Javis - Dze Ya Ye Mayi

Aloa Javis - Ezilngan

Download Ma Yem Ya? as a zipped file here. Note: The cover misspells Mr. Aloa's surname as "Alao," but it is spelled correctly on the record label. Likewise, sides A and B are reversed on the sleeve.

The Scandalous "K-Tino"

Before last week I'd heard of Camerounian chanteuse Catherine Edoa Ngoa, aka Kotino Ateba, aka "K-Tino," and her notorious sexually-charged hits. I never actually listened to her music, though, until I did research into my previous post, "Bikutsi Traditions."

A profile on the internet describes K-Tino's career arc this way:

...In the early 90s a woman named Katino Ateba emerged into the bikutsi scene with hits that took bikutsi fans by surprise. The orchestration was so good while the erotic lyrics expressed women’s fantasies. She broke all taboos and immediately knew success on the dancefloors around the country. By the number and regularity of her productions K-Tino is no doubt the Queen of bikutsi. She came into music with a powerful message that bikutsi is first of all the woman’s music. Her lyrics have sometimes been so intimidating to the sexual prowess of men that her fans have grown by millions among the women who see her as a symbol of their emancipation and empowerment. Totally fearless, K-Tino has become a myth, with her daughter K-Wash following her path to success.

K-Tino started singing in Chacal and Escalier Bar under the wings of the famous Epeme Theodore aka Zanzibar. She later joined the Band “Les Zombies de la Capitale” and set out for a solo career with the encouragements of the bikutsi patriarch Ange Ebogo Emerent. She performed so well that she became a crowd puller at Chalet situated in Mvan Yaounde. K-Tino has released several albums and her bikutsi is just irresistible, her performances are memorable. Her success has inspired so many young female bikutsi artists....

The event that really put K-Tino on the map, though, was her early-'90s smash "Ascenseur" ("The Lift"), a celebration of female sexuality that scandalized proper Camerounian society. Jean Victor Nkolo describes its impact in a chapter of the 1994 book World Music: The Rough Guide:

...Thanks to the rule of President Paul Biya - himself a Bulu Beti and a great bikutsi aficionado and dancer - the style has flourished on the otherwise heavily censored state-run radio and TV. A story that hit the drinking parlours of Yaoundé a couple of years back - part-joke, part-rumour - went like this: the archbishop of Douala, Monseigneur Jean Zoa, goes to the president's palace, hoping to get the latest bikutsi song banned. The piece in question was 'The Lift," in the Ewondo language. It comes from the raunchy Catherine Ateba, known as Katino Ateba, a young woman who fears no man, not even an archbishop.

According to the story, as the archbishop entered the president's living room to ask for the banning of "The Lift", he heard Biya himself asking his wife to "play that song again". The Monseigneur had to change his tune and his subject, throwing in the towel before uttering a word. Katino Ateba's songs are indeed crude, pornographic and anticlerical. But such themes are the essential thrust of bikutsi, a style whose origins go far back...

The lyrics themselves, barely disguised by euphemism, leave little to the imagination:

Action 69!
The lift, every male's secret
I like men who are not fools
Those who know how to press my sensitive button
The lift, that's every male's secret
I like a man who is no fool
I like a man who will suck me downstairs
I like a man who will suck me upsairs too
I like men who sin on earth
I like men who sin in heaven too
Even the parish priest loves that
Instead of giving me a private service
He comes home to sin downstairs
And I like the priest who sins upsairs too
And his mass will not be sad as a funeral ceremony
Because every male is a boss
Even in his pyjamas
But only when he's strong and big
With his prick as solid as a man's gun
Solid as a church's big candle
And I'll lick him up and down
And then, and only then, I'll ask him
To press the button in my lift
Every male's secret..

You can understand why the audience in the video above is going wild! (Translation courtesy of Jean Victor Nkolo).

Several years ago K-Tino renounced her salacious subject matter and founded a church in Libreville, Gabon, where she has a residence. Recently, though, she's made a return to form with a new naughty song, "Watafufu." As a report put it, "Yes, pastor K-Tino is singing again using dirty words!"

Enjoy more music by this brave, talented and charismatic lady!

Bikutsi Traditions

Making their first appearance here at Likembe are Les Veterans out of Cameroun, leading practitioners in the '80s of the rootsy, gritty bikutsi style.

The style of music most associated with Cameroun is the cosmpolitan makossa sound of the port city of Douala. But the country has a multiplicity of languages, cultures and religious traditions, so much so that it is often called "Africa in miniature." Bikutsi is the style most associated with the Béti peoples around the capital city of Yaoundé. Jean-Victor Nkolo discsusses the origins and history of bikutsi at some length in a chapter of the 1994 book World Music: The Rough Guide, to which I would refer you. Here's a representative passage, though:

...Originally, bikutsi was a blood-stirring war rhythm - the music of vengeance and summoning to arms, sounding through the forest. It used rattles and drum and the njang xylophone or balafon. Then, for decades, if not centuries, Beti women tricked the Christian church, as well as their own men, by singing in the Beti tongue and by using complex slang phrases reserved for women. While clapping out the same rapid-fire rhythm, they sang about the trials and tribulations of everyday life; they discussed sexuality, both theirs and their men's; and they talked about sexual fantasies and taboos. In the middle of the song, a woman would start a chorus leading to a frenzied dance of rhythmic foot-stamping and harmonious shaking of the shoulders, the back and the bottorn in that order: shoulders-back-bottom-clap-clap-clap-clap-clap. The whole thing was accompanied by strident screams and
whistles. These, in short, are the origins of bikutsi. The bellicose themes are no longer significant, but many women still perform the old folk dances, across the sprawling hills of Yaoundé city and beyond to the south....

When bikutsi was modernized, electric guitars replicated the melodic patterns of the balafons. Nkolo credits the creation of the "modern" bikutsi style in the '60s and '70s to Messi Me Nkonda Martin of the very influential band Los Camaroes (their 1979 LP Ressurection Los Vol. 1 has recently been reissued and is highly recommended!). The genre has continued to evolve. Briefly making a splash in the late '80s and early '90s were Les Têtes Brulées, who were the beneficiaries of a fair amount of publicity in the "World Music" scene but quickly disappeared. Other practitioners have been Chantal Ayissi, Sala Bekono, Mbarga Soukous and the controversial Katino Ateba. Wherever the music has gone, it's remained true to its gritty, unrestrained roots.

True to their name, I believe Les Veterans were associated with the Camerounian military in some capacity or other. They flourished in the 1980s but I don't know if they're still active. I'm aware of five albums they recorded and several 45s. This recording, 1986's Traditions (Ebobolo-Fia TC 010), has not been made available online before now to my knowledge. Enjoy!

Les Vétérans - Marie Loulou

Les Vétérans - Awu A Boya Abe

Les Vétérans - Osun

Les Vétérans - Man Kalba

Les Vétérans - Maboya E He

Les Vétérans - Osun (Instrumental)

Download Traditions as a zipped file here.

Sparkling Soukous

I love this album cover! I love the music on the album!

The group "Le Peuple" had its origins in a split from the legendary Bantous de la Capitale, the foremost musical congregation on the Brazzaville side of the Congo River. Fronted at first by the vocalists Célestin Kouka, Pamelo Mounk'a, and Kosmos Moutouari (or "Trio Ce.Pa.Kos."), the group, led by Célestin Kouka, soldiered on after Pamelo and Kosmos departed for solo careers. Le Peuple disbanded in 1985. This album, Bimbeni (Production Le Vaudou VAU 008), is from the post-Ce.Pa.Kos. period, sometime in the early '80s. Enjoy!

Le Peuple - Bimbeni

Le Peuple - Banque Ya Ba Soucis

Le Peuple - Zala Serieux

Le Peuple - Presence

Download Bimbeni as a zipped file here.

Eclectic Diva

Elizabeth Finant, better known as Abeti Masikini, or just "Abeti," was a pioneer of the Congolese music scene - one of the first female singers there to really make an impact. She was born on November 9, 1954, in present-day Kisangani to a civil servant who, as a supporter of first Congolese President Patrice Lumumba, was murdered in 1961 during the unrest that followed Independence.

While Abeti sang in the Catholic Church as a child, and performed in clubs and competitions, her career received a jump-start in 1971 when she made the acquaintance of the Togolese producer Gérard Akueson. He became her life-companion and father of her children and produced all of her records. Her first release, 1973's Pierre Cardin Présente Abeti (Disques Pierre Cardin PC 93.501) was in the "contemporary" style popularized by singers like Miriam Makeba and Togo's Bella Bellow. Which is maybe not surprisng given that Akueson was also Bellow's producer.

A steady stream of releases followed, which placed Abeti at the pinnacle of the Kinshasa music scene, rivalled only by M'Pongo Love and M'Bilia Bel for the title of Congo's top female vocalist. Over the years she showed an eclectic willingness to wander outside the standard Congolese rumba/soukous paradigm, drawing on influences far and wide to forge her unique sound. An excellent example is the late-'80s recording Je Suis Faché (Bade Stars Music AM 033), which draws on techno and the zouk style out of the French Caribbean, which was then sweeping Africa and the world. This was probably her biggest hit ever and I'm happy to present it here by request.

Abeti died of cancer in France on September 28, 1994.

Abeti - Je Suis Faché

Abeti - Lolo

Abeti - Viens Mon Amour

Abeti - Piege Ya Bolingo

Download Je Suis Faché as a zipped file here.

A Couple More Rochereaus

As promised in an earlier post, here are Volumes 5 and 6 of the series Rochereau Vols. 1-8, released by Disco Stock in Abidjan in 1982. The first four, Rochereau à Abidjan, did not get a lot of circulation outside of West Africa, but the last four were licensed by the African Record Centre in Brooklyn.

Congo's great Tabu Ley, nicknamed "Rochereau," is showcased to great effect in these wonderful albums. The no-frills production brings the voices to the fore while leaving plenty of room for the (uncredited!) backup musicians to display their chops. And some of the most-loved songs in Tabu Ley's repertoire - "On a Raconte," "Mazé" and "Sorozo" - are included.

On listening to these recordings, it struck me that the rhythm guitar ostinato on "On a Raconté," probably recorded in '81 or ''82, sounded awfully familiar. Compare it to 1985's "Haleluya" by Orchestra Simba Wanyika from Tanzania/Kenya. Was the later recording inspired by the first? Or is this a case of parallel evolution? The rhythm guitarist on "Haleluya" is probably George Peter Kinyonga, but who plays on "On a Raconté?" The liner notes give us no clue. Can someone out there enlighten us?

First up, here is Rochereau Vol. 5: Jalousie Mal Placée (Star Musique SMP 6005):

Tabu Ley Rochereau & l'Afrisa International - Jalousie Mal Placée

Tabu Ley Rochereau & l'Afrisa International - On a Raconté

Tabu Ley Rochereau & l'Afrisa International - Mela

Tabu Ley Rochereau & l'Afrisa International - Maika

Go here to download Jalousie Mal Placée as a zipped file.

And here is Rochereau Vol. 6: Mazé (Star Musique SMP 6006):

Tabu Ley Rochereau & l'Afrisa International - Mazé

Tabu Ley Rochereau & l'Afrisa International - M. Malonga

Tabu Ley Rochereau & l'Afrisa International - N'Gawali

Tabu Ley Rochereau & l'Afrisa International - Sorozo

Download Mazé as a zipped file here.

Bonne Année!

Happy New Year! Bonne Année! And here with us to celebrate the new year are Lokassa Ya M'Bongo, Sam Mangwana and the African All Stars with an LP appropriately entitled Bonne Année (Star Musique SMP 6039, 1983).

This album was recorded in Abidjan where the African All Stars were at the peak of their powers, creating a new iteration of Congolese rumba that would soon sweep the continent. All the gang is here - Lokassa on rhythm guitar, Dizzy Mandjeku on lead, Ringo Moya on percussion, ably fronted by the great Sam Mangwana on lead vocals, with Nayanka Bell and Chantal Taiba on backup.

Unfortunately, like a lot of these African Record Centre productions, the sound quality is not exactly ideal. I got it factory-sealed many years ago, but I suspect it was produced from a second- or third-generation master tape. I hope you'll enjoy it anyway. Bonne Année!

Lokassa Ya M'Bongo - Issa

Lokassa Ya M'Bongo - Dodo

Lokassa Ya M'Bongo - Bonne Année 

Download Bonne Anné as a zipped file here.

A Village Interlude

This is a quick and brief post, in response to a request.

A while back I put up a post devoted to traditional Igbo village music from Nigeria, a genre sometimes called "Igbo Blues." I included a track from the 1991 cassette Chukwunna Njieme Onu (EMI Nigeria NEMI 0692) by the Ifediora Mma Egedege Cultural Dance Group of Uga, Anambra State, led by Queen Ann Ezeh. A reader asked that I post the whole cassette, and I'm happy to oblige!

This is the genuine article, real traditional Igbo women's music as it is performed in villages throughout Ala Igbo. As I wrote back then:

....Here the full panoply of Igbo traditional instruments is displayed to great effect. The amiri (reed flute) leads off, to be joined in succession by the ekwe (wooden slit drum), ogene (two-headed bell) and oyo (rattle). The title, "Chukwunna Njieme Onu," means "My God that I Brag About." Lead singer Ann Ezeh addresses God in a very personal way: "God, please bless us, God that we rejoice in, God give us your grace, God that is all-good, God in heaven ('Olisa din'igwe') make our way easier."...

Moreover this is the sort of music one would hear this time of year. Around Christmastime Igbos from throughout Nigeria return to their home villages to spend time with family and celebrate the holy days. Musical troupes travel from household to household to perform for money.

I don't have time to discuss the lyrics and music in more detail, but I hope you will enjoy this brief village interlude!

Ifediora Mma Egedege Cultural Dance Group Uga - Chukwunna Njieme Onu 

Ifediora Mma Egedege Cultural Dance Group Uga - Ka Odilianyi Mma

Ifediora Mma Egedege Cultural Dance Group Uga - Okwu Olugbo

Ifediora Mma Egedege Cultural Dance Group Uga - Egoyibo

Download Chukwunna Njieme Onu as a zipped file here.

Spectacular Sounds From the Delta

About 20 years ago my wife Priscilla brought back from Nigeria about 40 albums of Ijaw (Izon)-language highlife music, or Awigiri, from the Niger Delta that she'd gotten at a used record store in Lagos.

Of course, I knew Igbo-language highlife from eastern Nigeria, but this was totally unfamiliar to me. I'll admit that I didn't warm to it immediately. I devoted a Likembe post to this music ten years ago, but apart from a few cursory listens these records have mostly sat on my shelf since I got them. 

Recently, though, I decided that I would sit down and sytematically digitize every single Ijaw record that I have. For the past few weeks I've been immersing myself in Awigiri, and it's a revelation! I've realized that I wasn't giving this stuff a fair hearing. I had been listening to it in reference to other styles I was more familiar with, but Awigiri must be accepted on its own terms!

Musically Awigiri has more in common with the minor-key sounds of Ghana highlife than other Nigerian styles. It certainly lacks the immediate punch of the music of Nigerian highlife legends Warrior or the Ikenga Super Stars, or the sophisticated arrangements of Chief Stephen Osadebe. It's a guitar and percussion-based music that comes at you in a more subtle, roundabout way, but delivers big time. 

Take today's musical selection, Edogbo Special Vol. 2, by Anthony Cockson and his Oyadongha Dance Band (Cockson Records CRLP 005, 1986). That previous Likembe post featured an outstanding tune by them, "Late Brother Iddo," from  Edogbo Special Vol. 1 (Cockson Records CRLP 001, 1984). The title tracks of both albums are tributes to Mr. Cockson's late mother Madam Edogbo Perefa. Here the band is firing on all cylinders; the guitar work in particular is spectacular. The musicians on Vol. 2 aren't credited, but I would assume they are the same as on Vol. 1. These are Mr. Cockson on vocals, Sayerigha on lead guitar, Paa Pee on bass and Free on rhythm guitar, Dare Saturday on drums, Ogbo-Akedei Zitare on clips, A. Lucky on maraccas and P. Timi-Ebe on congas.

Ubulujaja over at the Highlife Turntable blog is also into Ijaw highlife and posts it often. He's been in touch with the son of Bestman Doupere, another well-known musician from the Delta, who relates that Mr. Cockson, Mr. Doupere and another musician named King Ebizimor were all from Sagbama in present-day Bayelsa State and played together before they all embarked on solo careers. I plan to post music by these musicians and others from the area in the future.

Anthony Cockson & his Oyadongha Dance Band - Late Madam Edogbo Pt. 2

Anthony Cockson & his Oyadongha Dance Band - Ebimiefe

Anthony Cockson & his Oyadongha Dance Band - Ekpo Abonomo

Download Edogbo Special Vol. 2 as a zipped file here.