Advance Kusugar! Zimbabwe Hits Vol. 3

We conclude our overview of DiscAfrique's Zimbabwe Hits compilations with Volume 3 of the series - Advance Kusugar! (DiscAfrique AFRI LP 006, 1988). Some of the biggest names of late '80s Zimbabwe music are here, and some lesser-known talents as well.

Jonah Moyo founded Devera Ngwena ("Follow the Crocodile") in 1979 to entertain the workers at Mashaba Asbestos Mine, which became their sponsor. Their combination of Congolese rumba and indigenous sounds immediately became a sensation, the group waxing numerous singles like "Solo na Mutsai," "Taxi Driver" and many others, including this offering, "Karekita"."What's your problem? Love can't be bought. It floats like the wind."

Jonah Moyo & Devera Ngwena Jazz Band - Karekita

Explorations of the mbira, or thumb piano, by Master Chivero, about whom I've not been able to find anything. "Get on your bike and go after the sweet one. Marry her and do not lose her."

Master Chivero - Advance Kusugar!

R.U.N.N. Family was made up of members of the Muparutsa family. The song is a tribute to the then-recently-departed President of Mozambique, who died in a plane crash under suspicious circumstances, probably the work of South Africa. He is compared to other African freedom fighters: "Someone keeps stirring and heating the pot. [Herbert] Chipeto, [Steve] Biko and now Samora Machel. They kill our friends. We can only pray to God and remember the inheritance of Samora Machel. Our life is the struggle."

R.U.N.N. Family - Hatichina Wekutamba Naye

Here are the Jairos Jiri Band, whom we remember from Take Cover!, the first volume of Zimbabwe Hits. "Chiedza is so beautiful. Her face is like a snake's egg. The sun is rising and she is my morning. I love her and will marry her."

Jairos Jiri Band - Chiedza

More friends from Take Cover! "Business in town. 'Father, my business has failed. I do not want to steal. I will join the service economy. The gift of business, alas, I did not have it." 

Safirio Madzikatire with the Sea Cottage Sisters & New World Band - Bhizinesi Mudhoroba

"Nehanda, the grandmother of the ZANU people prophesied that one day they would rule themselves in a happy and free Zimbabwe."

Master Chivero & the Zimbabwe Militia Mbira Sounds - Muchembere Wedu Nehanda

"Ndicheni" is possibly in the Chewa language, and might be about a woman who abandons her children to go drinking in town.

Jairos Jiri Band - Ndicheni

"Mother, father, welcome your son. I have killed a buck and a kudu." 

Jonah Moyo & Devera Ngwena Jazz Band - Hombarume

"I love you more when you are happy." 

Safirio Madzikatire with the Sea Cottage Sisters & New World Band - Zvatakadana Ataisiyana

"Speak! Talk! Say what you have to say. The disadvantages of polygamy. How many women can you offer the sun and moon? How many wedding dresses will you spin from the flowers and trees? Will they believe you and how do you expect to be treated? Hell hath no fury like a woman spurned." 

Paul Matavire & Jairos Jiri Band - Taurai Zvenyu

"Friend, the beer hall or the church? Choose your road. Remember that to drink is a sin against God." 

Amanzi Okuphila - We'mfowethu

Download Advance Kusugar! as a zipped file here. Researching this post I found the book Roots Rocking in Zimbabwe by Fred Zindi (Mambo Press, Harare, 1985) very helpful. Descriptions of the songs were provided by the liner notes of Advance Kusugar!.

Goodbye Sandra: Zimbabwe Hits Vol. 2

We continue our exploration of the rockin'sounds of '80s-era Zimbabwe with Goodbye Sandra, the second volume of the Zimbabwe Hits series (DiscAfrique AFRILP 05, 1988). In contrast to the first outing in the series, this one features only four artists, but they're all great. Let's go!

We remember John Kazadi from Volume One of Zimbabwe Hits - Take Cover! John was originally from Lubumbashi, Congo, and here covers the lovely song "Le Bucheron" by the Congolese singer Franklin Boukaka. "Evoking the ancestors and those who died for liberation. It's time to enjoy the fruits of freedom and rejoice.":

John Kazadi & the Desh Band - Africa (Le Bucheron)

Many reading this need no introduction to Oliver Mutukudzi. Apart from Thomas Mapfumo, he's probably the best-known Zimbabwean musician in the world, and no wonder - his deep, soulful voice is unparalleled. "Nzara" recounts the hunger and suffering during a drought:

Oliver Mutukudzi - Nzara

During the Zimbabwe War of Liberation musician Simon Chimbetu fled into exile in Tanzania, where he joined the Zimbabwe African National Union and entertained its troops in exile. Shortly after Independence he joined with his brother Naison to form the Marxist Brothers. The brothers split in 1988, Simon forming the Dendera Kings and Naison forming the Gee 7 Commandos. In "Goodbye Sandra" the singer is bidding adieu to his foreign girlfriend and returning home to Zimbabwe:

The Marxist Brothers - Goodbye Sandra

The Sungura Boys were the band of John Chibadura (John Nyamukoko). Chibadura was born in 1957. Orphaned at an early age and forced to abandon his schooling, he worked a number of menial jobs before distinguishing himself on the guitar and founding the Holy Brothers with his friend Shepherd Chinyani. After a number of personnel and name changes the group became the Sungura Boys. At some point (either 1983 or 1985) John left to form his own band, the Tembo Brothers. Sadly, John Chibadura died in 1999. "Soweto" is "a song about suffering, pain, hardship and death in the struggle for freedom":

The Sungura Boys - Soweto

"Love is blind. If only it could stay that way."

The Marxist Brothers - Rudo Ibofu

"Africa" is "about the liberation of all Africa as the struggle for decolonization continues":

The Sungura Boys - Africa

"A disease that has killed the singer's sister and uncle now afflicts his grandmother. Leaving the city to join her, his train breaks down":

The Marxist Brothers - Denda

"Tungamira" is about a young friend "who dies without a chance to say goodbye. He is asked to lead the way to heaven (or peace)." I will be posting more music by Oliver Mutukuzi on Likembe in the future: 

Oliver Mutukudzi - Tungamira

A sarcastic song about Abel Muzorewa's hapless "Zimbabwe/Rhodesia" regime, which held sway for only a few months before Independence in 1980. "How can a country possess two names?" I will be posting more music by John Chibadura on Likembe in the future: 

The Sungura Boys - Zimbabwe/Rhodesia

A dub version of the opening tune:

John Kazadi & the Desh Band - Africa (Dub)

Download Goodbye Sandra as a zipped file here. Researching this post I found the book Roots Rocking in Zimbabwe by Fred Zindi (Mambo Press, Harare, 1985) very helpful. Descriptions of the songs were provided by the liner notes of Goodbye Sandra.

Take Cover! Zimbabwe Hits Vol. 1

Take Cover! Zimbabwe Hits Vol. 1 (DiscAfrique AFRI LP 01, 1986), and its sequels, Goobye Sandra: Zimbabwe Hits Vol. 2 (DiscAfrique AFRI LP 05, 1988) and Advance Kusugar! Zimbabwe Hits Vol. 3 (AFRI LP 006, 1988) capture a magic moment in African music - the optimistic years immediately after Zimbabwean independence in 1980. Thomas Mapfumo and the Bhundu Boys are familiar artists from this period, but these collections highlight musicians who aren't as well-known outside of Zimbabwe. I'm pleased to offer Take Cover! today, with the other two volumes to follow soon.

The Jairos Jiri Band has been one of the leading musical congregations of independent Zimbabwe. It is the official orchestra of the Jairos Jiri Rehabilitation Centre, which for six decades has worked to to rehabilitate and integrate into society Zimbabweans with disabilities. All of the members of the band are "disabled" in one way or another, and Paul Matavire, who led the group for a number of years, was blind. Matavire left the band in 1995 and died in 2005. Following a period of inactivity, the Jairos Jiri Band was recently revived under the leadership of Stewart Njodo."Take Cover" refers to the privations Zimbabweans suffered during the bitter struggle against white minority rule:

Jairos Jiri Sunrise Kwela Band - Take Cover

Ephat Mujuru (1950-2001) was well-known to African music aficionados in the US, particularly in the Pacific Northwest, where he was resident for many years at the University of Washington in Seattle, lecturing and teaching the mbira (thumb piano). Mujuru founded his first musical group, Chaminuka, in 1972, renaming it Spirit of the People after the fall of the Rhodesian regime in 1980:

Ephat Mujuru & the Spirit of the People - Kuenda Mbire

The Family Singers, led by Jonathan and Shuvai Wutawunashe, were a leading Zimbabwean gospel group of the '80s. "Tarira Nguva," their first single and a smash hit, shows the clear influence of American country-western music. Shuvai Wutawanashe sings, "All Christians must work hard to uphold Christianity, as the devil is working hard to destroy us.":

The Family Singers - Tarira Nguva

The O.K. Success had their origins in Congo, but since their arrival in the former Rhodesia in 1960 they have become thoroughly Zimbabwean, both in personnel and in the subject matter of their music. The lead singer of "B.P.," James Chimombe, got his start with Thomas Mafumo's Acid Band before moving on to O.K. Success, and later recording with the Huchi Band and Ocean City Band. In 1990 he became the first prominent Zimbabwean musician to die of AIDS. The lyrics: "To err is human my friend. We all make mistakes at some stage in our lives":

James Chimombe & the O.K. Success - B.P.

Over on the Electric Jive blog Tony Hunter describes his first encounter with Africa Melody: “...I had a friend who lived in Kwe Kwe and I stayed with his family. There was a band that’s sound captivated me. Africa Melody was led by a guy called John Kazadi who I think came from Lubumbashi [Congo]. The few references to the band describe it as sungura music but to me it had less of rhumba feel and at times more of country rock sound with the guitars right upfront...." "John Waenda" is about a widow whose husband died, leaving her no money to look after her children:

Africa Melody - John Waenda

Born in the late '30s, Safirio Madzikatire ("Mukadota") became well-known as a comedian with his own radio program, "Mhuri Yekwa Rwizi." He soon transitioned to making music with various musicians, including the Brave Sun Band, led by his son Elijah, the Mukadota Family and this group, the Sea Cottage Sisters. In this song a man named Dickson apologizes to his girlfriend for letting her down and begs her to take him back:

Safirio Madzikatire & the Sea Cottage Sisters - Dickson

In this song, a man named George leaves his long-time girlfriend for a nurse who buys him a car:

James Chimombe & the O.K. Success - George Mudiwa Wangu

I'm not sure if there is any relationship between this Super Sounds and another group called the Ndolwane Super Sounds. In "Chipendani" a young man inherits a fortune from his father but soon squanders it. To survive he is forced to make his living as a herder:

Super Sounds - Chipendani

A tribute to the late Jairos Jiri, founder of the Jairos Jiri Rehabilitation Centre, which has worked for six decades helping disabled individuals who have been abandoned by their families:

Jairos Jiri Band - Pamberi Nava Jiri

BBC Radio host John Peel described The Four Brothers band as "the best live band in the world." From 1977 to the early 2000s they were a mainstay of the Zimbabwe music scene, finally succumbing to the death or disablement of the founding members. There have been efforts to revive the group, with limited success. "Wapenga Nayo Bonus" decries the practice of people spending their yearly bonus unwisely:

Patrick Mkwamba & the Four Brothers - Wapenga Nayo Bonus

"Katarina" was one of the biggest hits in Zimbabwe during the '80s. A young man desires to leave his home because everyone is jealous of his relationship with a beautiful dancer named Katarina. Later he decides he will ignore the gossip and stay at home:

Safirio Madzikatire & the Sea Cottage Sisters - Katarina

Enjoy this video of Mukadota and the original "Katarina":

"Amayo" is in Chewa, a language spoken in neighboring Malawi. A young man objects to the woman his mother has picked for him to marry:

The Pied Pipers - Amayo

Download Take Cover! Zimbabwe Hits Vol. 1 as a zipped file here. Researching this post I found the book Roots Rocking in Zimbabwe by Fred Zindi (Mambo Press, Harare, 1985) very helpful. The translations of the lyrics are taken from the US edition of Take Cover! (Schanachie 43045, 1987).

Happy Mothers' Day!

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.

Good-Time Gospel from Nigeria

Ọdun Nlọ Sopin, by the Good Women Choir, has been one of Likembe's most popular recent downloads, at least according to Mediafire. Now brace yourself for some more feel-good Yoruba gospel music from Nigeria, this time courtesy of Sister Dunni Olanrewaju, or as she is often known, "Opelope Anointing," after her biggest hit. 

Sister Dunni was born December 2, 1960, in Alabata, Oyo State. She was called to the gospel at an early age, as her father was a cathechist and her mother a Deaconess in Christ Apostolic Church. She began singing in the choir at age 9, and dropped out of secondary school to pursue her passion for music, much to the consternation of her mother. 

Adun-Igbeyawo was Dunni's first release, in 1988, but Opelope Anointing (see the video below) was the record that really made her a household name in 2000. In between there were five other recordings, including today's offering, the cassette Ayo Re Mbo (Premier Music LMC 010), which came out around 1996. The title track in particular combines gospel, highlife and a battery of talking drums in a way that that really gets the feat moving! Listening to it, you can understand why gospel is one of the most popular genres of music in southern Nigeria. I hope you'll enjoy it as much as I do.

Dunni Olanrewaju & Golden Voices - Ayo Re Mbo

Dunni Olanrewaju & Golden Voices - Jesu Ni Mo Beru Ju

Dunni Olanrewaju & Golden Voices - It is Raining

Dunni Olanrewaju & Golden Voices - Ope Lo Ye Jesu (Afro)

Dunni Olanrewaju & Golden Voices - Jesu Lo Le Se

Dunni Olanrewaju & Golden Voices - Halleluyah Joy

Download Ayo Re Mbo as a zipped file here. Unfortunately the sound quality of this cassette is not the best. I hope you will agree with me that the quality of the music outweighs this technical limitation.

Let's Dance Kibushi!

Orchestre Les Hi-Fives, originators of the popular Kibushi sound, were one of many Congolese dance bands who, fleeing political turmoil, made their way east to Tanzania and Kenya. They were founded as Bana Kibushi Batano by Vicky Numbi in Lubumbashi, Congo. In 1965 they moved to Dar Es Salaam, Tanzania, and two years later to Mombasa to join the burgeoning Congolese exile music scene in Kenya. Here, like much of this cohort, they became as much a "Kenyan" group as a Congolese one.

Various problems, notably with residency permits, forced the band to break up some time in the late '70s or early '80s, and the members scattered to the four winds. Many years ago my friend Kenneth Chitika loaned me this album, Wanawachezea Mfululizo wa Kibushi (Philips PKLP 105, 1972), and I dubbed it to a 10" tape reel. Ten years ago I digitally ripped this in turn, and here it is! I got the sleeve and label art from Discogs, which was also the source for some of the information in this post.

Orcheste Le Hi-Fives - Wami Mukaji Kisenga / Chibila Chibe / Nako Lela

Orcheste Le Hi-Fives - Maba Ya Makasi / Zuwa Ya Pamba / Sonya Mwana Likas

Download Wanawachezea Mfululizo wa Kibushi as a zipped file here.

Return of the Sweet Talking Man

Last month I gave you A.B. Crentsil's great 1985 LP Toronto by Night, with a promise of more sophisticated sounds from the king of '80s Ghana highlife. Well, here they are! Tantie Alaba (Earthworks/Rough Trade ERT 1004, 1984) was recorded at the Ghana Film Studios in Accra, and has more of an "organic" sound than Toronto.

Researching this series of posts devoted to Ghana music from the '80s, I've been digging through my archives, compiled back in the days before the internet, and came across issue #5 of Africa Beat magazine, published in London in Summer of 1986. It contains a most informative article, "Sweet Talking Man," about Mr. Crentsil, then on a European tour:

The dramatic plunge in the value of the Ghanaian currency, the cedi, has thrown up some stories. One of the most heartbreaking is the virtual death of the Ghanaian recording industry. The price of imported basics, like guitar strings or vinyl, has killed off virtually every full-time touring professional band. Some put the number of survivors as low as three. 

One man who has survived all this and a lot more is A.B. Crentsil, the 36-year-old singer whose mid-1970s band Sweet Talks was a germinating ground for some of the strongest talents to emerge out of Ghana during the last ten years - the Sunsum Band, Eric Agyemang and Thomas Frempong among them. But the figures even he throws out so casually are terrifying. He starts off talking about how his second band the Lantics were stolen away from the Atlantic Hotel by an extra 25 cedi a month - "100 cedi a month was a lot and we were happy to go!," he chuckles. Now he talks about paying his bus driver 10,000 cedi a day, a week, a month, whatever it takes to keep him. 

Even more scaring is his account of the break-up of Sweet Talks in 1979 and the court battle to get money out of the manager of the Talk of the Town Hotel who owned the band's instruments and in a lot of ways seemed to own their souls as well. "In court we heard that Phonogram had paid him 5.4 million cedis. Out of that we had seen 68,000 cedis." Needless to say there were dark doings in the background and A.B. is not a rich man - but her survives. 

And away from the numbers, back to the music. Throughout the 1970s A.B. played in the best hotel bands in Ghana - first the El Dorados, performing funk, reggae and James Brown material, the usual songs known as "copyright." The there was the Lantics, again tied to a top hotel but this time getting away to record the first album, Adam & Eve [as the Sweet Talks] in 1975. They had been spotted playing in the hotel by Phonogram MD Arthur Tay who swept them off to the 16-track EMI studio in Lagos which was quite a jump from the two-track they had used for three 45s earlier. 

The 75-venue tour of Ghana which followed built Sweet Talks into one of the biggest bands in the land. Throughout the string of LPs that followed - Kusum Beat, Spiritual Ohaia, Osode - it was all up and up, closer to dangerous temptations that lay in wait when Phonogram Holland took them to Los Angeles' Total Experience studio to record the best-selling Party Time [Hollywood Highlife Party]. It was then that they discovered that their manager was using their money to send a Thunderbird back to Ghana. It was when they got back they discovered they were broke, and broke up....

Which brings us up to 1984, and Tantie Alaba, recorded with Mr. Crentsil's reorganized Super Sweet Talks International, and the first of his albums to receive modest international distribution. Here's a nice video someone made of the title track, utilizing footage that apparently has nothing to do with the song itself, but, I'm sure you'll agree, matches up very well indeed!

A.B. Crentsil & Super Sweet Talks International - Tantie Alaba

A.B. Crentsil & Super Sweet Talks International - Akpêtêchi Seller

A.B. Crentsil & Super Sweet Talks International - Odo

A.B. Crentsil & Super Sweet Talks International - Who is Free

Download Tantie Alaba as a zipped file here.

Augustin's Messengers

Augustin Kouassi is an Ivorian musician who's apparently been around the block a few times. Discogs lists a couple of LPs by his band, Les Messagers de la Paix, apparently from the '80s. Other than that, I can't say much more about him and the group. How many times have I had to say that here?

I got today's offering by them way back when it first came out, along with a raft of other cassettes from Ivory Coast, and didn't pay much attention to it then. Man, was I missing out! Mambo Attoh Théophane (Carine Musique CAR 01, 1993) is one of the most addictive recordings I've heard in a long time. Everything about it is first-rate, from Gaiten Kouao's exquiste guitar work to the outstanding vocals (different members take turns singing lead, and the chorus is tight). Of course, Congo music is an influence, and the vocals have that sweet-and-sour quality you hear in West African music from Ghana to the Niger Delta. I'm tempted to label it "Soukous-Highlife," but that just doesn't do it justice. Let the music speak for itself!

Augustin Kouassi & Les Messagers - Mambo Attoh Théophane

Augustin Kouassi & Les Messagers - Kêgbè Piemin

Augustin Kouassi & Les Messagers -  Yié Koubê

Augustin Kouassi & Les Messagers - Boto Sopie

Augustin Kouassi & Les Messagers - Adja Ayo

Augustin Kouassi & Les Messagers - N'Douci Carrefour

Download Mambo Attoh Théophane as a zipped file here.

Wanyika Memories

The Tanzanian-turned-Kenyan orchestra Simba Wanyika gave rise to a multitude of offshoots, and offshoots of offshots, over its 25-year history - Orchestra Jobiso, Super Wanyika Stars, MAS System, the Mavalo Stars and so forth. It's all documented in a discography I compiled, along with Doug Paterson and Peter Toll, some years back.

None of these, though, have had the impact of the biggest splinter group of them all, Orchestra Les Wanyika, founded in 1978 by Simba Wanyika rhythm guitarist Omar Shabani and several other members, who were joined by John Ngereza and Issa Juma. A couple of smash hits ("Paulina" and "Sina Makossa") later and Issa Juma too had flown the coop to form his own band, variosly called Waanyika, Super Wanyika and Wanyika Stars.

Never mind. That was just a speed bump for Les Wanyika, who notched a plethora of hits over the next decade, including "Dunia Ki-Geu Geu," "Mbaya Wako Rafiki Yako" and "Naogopa," culminating with today's offering, the 1988 LP Nilipi la Ajabu (Polydor POLP 582), featuring one of their most popular tunes, "Afro."

Nilipi la Ajabu was followed shortly by Nimaru (Polydor POLP 598, 1989), which I will also be posting here soon, and several other albums including Amigo (Clifford Lugard Productions CLP 001, 1997) a collection of re-recorded versions of their hits that is Les Wanyika's only record to get widespread distribution outside of Africa.

Sadly, Omar Shabani died in 1997, and his longtime colleague John Ngereza passed in 2002, but their legacy is eteral through recordings like Nilipi la Ajabu. Enjoy!

Orchestra Les Wanyika - Afro

Orchestra Les Wanyika - Mambo Yambedilika

Orchestra Les Wanyika - Safari Sio Kifo

Orchestra Les Wanyika - Nilipi la Ajabu

Download Nilipi la Ajabu as a zipped file here.

Mind-Blowing Sounds from Mali

Since its foundation in 1970 as the official orchestra of Mali's National Railway Company, the Rail Band has occupied a prominent place in the firmament of West African music, and through its ranks have passed some of the most respected musicians in the region. The band's Affair Social (Sacodis LS-25, 1979) is such a spectacular, mind-blowing achievement that I figured one of the other African music blogs must have posted it long ago. But apparently not, so here it is!

Affair Social was recorded during a tumultuous period for the Rail Band, relocated to Abidjan, Ivory Coast from Bamako and rechristened the Super Rail Band International. Salif Keita, the group's lead singer, had decamped in 1972 to found Les Ambassadeurs du Motel and later gained world fame as part of the World Music™ craze. He was replaced by Mory Kante, an equally gifted vocalist, who by the time Affair Social was recorded had also departed for a solo career. Other members of the "classic" Rail Band lineup, among them founder Tidiani Koné, had similarly moved on.

Perservering, though, was Djelimady Tounkara, one of Africa's greatest guitarists, who reestablished the band with new personnel, none of whom, unfortunately, is credited in the liner notes of Affair Social. The Super Rail Band International have continued performing and recording to this day, still under the able leadership of Tounkara. Enjoy!

Super Rail Band International - Affair Social

Super Rail Band International - Deniyeleba

Super Rail Band International - Ma Awaba

Super Rail Band International - Wasso

Download Affair Social as a zipped file here.

$850 for a Cassette? Oh, Come On!!!

Thanks to Andreas Wetter for apprising me of this offer on EBay:

Yes, that's right: Someone is asking $850 dollars for the cassette version of the 1972 LP Master Guitarist Vol. 5 (African Songs LPAS 8014) by Nigeria's Sunny Adé & his Green Spot Band!

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!

Strictly speaking, what I'm making available is not Master Guitarist Vol. 5 but another pressing that came out around 1984. What happened was, when King Sunny Adé caused a sensation internationally around 1982 with his African Beats band, some smaller record companies hoped to cash in on the craze by reissuing material that had been recorded years earlier in Nigeria. This fly-by-night company Imported Nigeria licensed Master Guitarist Vol. 5 from African Songs, which had been Adé's record company in the early '70s, and issued it under the title Vintage King Sunny Adé (Imported Nigeria K001).

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!

Mmmmmm . . . Sweet '80s Highlife Music!

I've been going through my record collection, pulling out and digitizing Ghanaian LPs that I got hold of back in the '80s when I was a regular customer of Sterns African Record Centre in London.  Most of these  were recorded in London, Berlin and Toronto, the economy in Ghana at the time having forced some of the biggest stars there to seek sustenace overseas. The result was a new, hybrid sound, marrying the standard themes and sounds of Ghana highlife with modern production values, synthesizers and drum machines. 

Over the next weeks and months I'll be presenting the results of my excavations, but I think it's only fitting to open with an LP that stands as a pinnacle of the '80s Ghana highlife sound - A.B. Crentsil's Toronto by Night (Wazuri WAZ101, 1985).

Alfred Benjamin Crentsil was born in 1950 and showed an early aptitude for music, forming with his friends in the mid-'60s a group called the Strollers Dance Band. A few career moves later and he founded, with Smart Nkansah, the group that would make his name, the Sweet Talks. Their fledgling effort, Adam and Eve in 1975, almost single-handedly rescued highlife music in Ghana, then under assault by assorted foreign styles. Many more hits - Kusum Beat and Hollywood Highlife Party (recorded in the US in 1978 when the band was playing backup for the Commodores) among others - and the Sweet Talks were at the top of their game.

As is often the case for African musicians, dissension set in and the classic Sweet Talks lineup was no more. Smart Nkansah left to found the Black Hustlers (later named the Sunsum Band) and Crentsil carried on with the Super Sweet Talks International. More solo recordings followed (among them the controversial Moses), and Crentsil found himself in Canada, where Toronto by Night, a certified classic, was recorded.

Crentsil has been back in Ghana for many years and is still recording. In 2016 he received a Lifetime Achievement Award at the 17th Ghana Music Awards.

A.B. Crentsil - Aboa Oni Dua

A.B. Crentsil - Montwe Mma Yen

A.B. Crentsil - Ma Mendwen Me Ho

A.B. Crentsil - Biribi Dze Mu

"I Go Pay You Tommorrow" is a rework of Crentsil's big hit from 1984, "Akpêtêchie Seller," from his LP with the Super Sweet Talks International, Tantie Alaba (I will be posting this album some time in the future). In it an alcoholic beseetches a seller of Akpêtêchie (distilled palm wine) to give him one more drink until payday:

A.B. Crentsil - I Go Pay You Tomorrow

Download Toronto by Night as a zipped file here. Ronnie Graham's article from the August 11, 1986 issue of West Africa magazine, "A.B.'s Highlife Humour," was extremely useful in researching this post.

An Early Cassette by Cheikh Lô

Cheikh Lô has been a sensation on the World Music™ scene since the release of his album Né la Thiass, produced by Youssou N'Dour, in 1996. He was born in Burkina Faso (then Upper Volta) to Senegalese parents and started his musical carreer with Volta Jazz, then a leading musical group in that country. He moved to Senegal in 1978 and later spent time as a session musician in Paris, the main center of the African music scene outside the continent, picking up various musical influences in the process.

Before Né la Thiass, Lô recorded at least two cassettes in Senegal. Doxamdeme (Audio-Video AVP 00010) came out in 1990, and today's offering, Dieuf Dieul (Audio-Video AVP 0013) was released in 1992.

Cheikk Lô's quiet, mainly acoustic take on Senegalese music, with nods to reggae and other styles, is deeply informed by his membership in Baye Fall, a sub-group of the Mouride movement, an indigenous Sufi Muslim order founded in 1883 by Cheikh Amadou Bamba. Baye Fall members are distinguished by their dress, dreadlocks, and dedication to hard work. Although I don't know for sure, I suspect several of the songs on Dieuf Dieul are dedicated to Cheikh Lô's religious concerns.

Recorded before Cheikh Lô's ascension to world fame, I've found Dieuf Dieul bears repeated listening. It's moving and infectious. Enjoy!

Cheikh Lô - Dieuf Dieul

Cheikh Lô - Bambaa Bakh

Cheikh Lô - Niani Bañna

Cheikh Lô - Guney Senegal

Cheikh Lô - Babylone

Cheikh Lô - Saly

Download Dieuf Dieul as a zipped file here. If you like Cheikh Lô's mellow style, you'd probably enjoy this album by Seydina Insa Wade that I posted nine years ago.

Welcome to Maroon!

Mwakaribishwa na Maroon! That's Swahili for "Welcome to Maroon." It's also the title of today's featured recording (Polydor POLP 600, 1989) by Kenya's legendary Maroon Commandos. The Maroons have been around since 1970, founded by Habel Kifoto (that's him on the left above) as the offficial band of the 7th Kenya Rifles of the Kenyan Army, based in Langata Barracks, Nairobi. 

The Maroons' modest goal in the beginning was to tour the country entertaining homesick troops, but it wasn't long before their infectious blend of rumba, benga and traditional music caught on with the general public. Their first hit was "Emily" in 1971, and then an unfortunate traffic accident in 1972, which killed one member, sidelined the group for several years until they came roaring back in 1977 with "Charonyi ni Wasi," which is included on the collection Kenya Dance Mania (Sterns/Earthworks STEW24CD, 1991). Written by Kifoto in his native Taita language, it is a sad melody of nostalgia and hard times in the big city. I shared another great song by the group, "Liloba," in an earlier post. That one, by the way, featured the vocals of Laban Ochuka, who later founded the Ulinzi Orchestra, the subject of a future post.

About a recent performance, Daniel Wesangula wrote in the Daily Nation newspaper:

Three nights a week 20 Kenyan soldiers take a break from the rigorous routine that defines their military life from sunrise to sunset. On these nights they let another side of their personalities take over as they mingle with civilians through music. Hands trained to hold weapons hold guitars, trumpets, drumsticks and microphones. Feet accustomed to marching in formation and jumping in and out of trenches tap lightly, keeping beat to the music. 

Voices conditioned to bark out orders in military drills croon words that have entertained generations. And the faces that seldom crack the faintest of smiles soften and become warm. During the two hours on stage there are no ranks, no obligatory salutes. During this rehearsal, united by their common love of music, they are all equal.

After a ten-year recording hiatus, the Maroon Commandos returned to the scene in 2007 with a new album, Shika Kamba, and have continued to entertain East Africans up until the present. I was saddened to learn while researching this post, though, that Habel Kifoto passed away in 2011. He had retired from the Army in 2009, passing on leadership of the band to Diwani Nzaro and subesquently Sgt. David Kombo. Kifoto remained active in music, however, and is said to have recorded a new album just before his death.

Enjoy Mwakaribishwa na Maroon!

Maroon Commandos - Mwakaribishwa na Maroon

Maroon Commandos - Ujumbe Wako

Maroon Commandos - Esther

Maroon Commandos - Bila Jasho

Download Mwakribishwa na Maroon as a zipped file here.

Groovin' with Touré Kunda

In the early '80s, Touré Kunda, founded by brothers Amadou, Ismaïla and Sixu Touré in the Casamance region of Senegal, were slated to be the next World Music™ sensation. For a while it looked like they might make it. Albums like E'mma Africa and Casamance au Claire de Lune were well-received. The group embarked on a number of world tours, one of which produced the excellent live 2-LP set Live-Paris-Ziguinchor (Celluloid CEL 6710/11, 1984).

Some of my more purist-minded fellow African music fans looked down their noses at Touré Kunda. Their sound, not as hard-edged as the product coming out of Dakar, seemed suspiciously affable. Were Touré Kunda just a marketing gimmick? Were they an African version of The Monkees?

Not so! Touré Kunda's easy-going, less angular sound is deeply rooted in the Casamance, a region that was under Portuguese rule until 1888. And what's wrong with being likable and popular, anyway? Despite some ill-advised tech flourishes on their mid-'80s albums I've always appreciated Touré Kunda.

The 1992 cassette Sili Béto (Irema CB 521) dispensed with the "World Beat" excresences and was a welcome return to form for the group. I've always loved their take on reggae, and the Portuguese-influenced vocals are great as usual. I hope you'll enjoy it also!

Touré Kunda - Hadidia

Touré Kunda - Fatou Yo

Touré Kunda - Casalé

Touré Kunda - Akila

Touré Kunda - Soppé

Touré Kunda - Ké Diaré

Touré Kunda - Fiança

Touré Kunda - Téria

Touré Kunda - Cira

Touré Kunda - On Verra Quoi? Ça!

Touré Kunda - Oromiko

Download Sili Béto as a zipped file here.

Funky Jùjú Highlife From Ondo State

Who is Tayo Jimba? I have no idea. I do know that I enjoy this 1988 LP, Ise Aje (Leader LRCLS 65), a great deal. The label lists the musical style as "Jùjú/Highlife," and that sounds about right. It is actually quite similar to recordings I've posted here before by Adé Wesco and Orlando Owoh - a funky, rootsy, less-cluttered sound that takes us back a few decades to the point where jùjú and  highlife music were less differentiated.

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

Tayo Jimba & his Black Shadows - Ise Aje Le / Ayun Ile Yun Mi

Tayo Jimba & his Black Shadows - AIDS / Ojumo Mo

Download Ise Aje as a zipped file here.

First-Generation Zouglou

Over the last few months we've been exploring the origins and development of zouglou music in Ivory Coast, and listening to some representative recordings. The website Music in Africa describes the style's origins as follows:

The musical roots of zouglou lie in the local Ivorian musical styles tohourou and aloucou from western Côte d’Ivoire, which became popular in the urban centres in the 1960s and 70s. The direct musical base of zouglou music grew out of what is known as ambiance facile or woyo: chants to percussive music on improvised instruments such as metal scrapers, glass bottles and of course drums. This music grew out of the songs that accompanied sports competitions in Côte d‘Ivoire‘s schools during the 1980s. Groups of students that called themselves “supporters committees” would accompany sports teams to the games and make up songs to encourage their teams. As school teams and their supporters committees travelled to matches against other schools across the country, they picked up new melodies and rhythms along the way.

Ambiance facile and woyo music sessions also became a popular past-time in Abidjan’s working class (popular) neighborhoods. In these multi-ethnic neighborhoods, children and teenagers would teach each other songs from their home regions. This mostly unrecorded leisure music is still popular across Côte d’Ivoire. Through the sports matches and neighborhood sessions, ambiance facile drew on rhythms and melodies from many different regions of Côte d’Ivoire. Zouglou music also drew on these rhythms and melodies and thus became the first musical style that was considered to be multi-ethnic and nationally representative of Côte d’Ivoire.

In 1990, zouglou was invented first as a dance among university students residing in the Yopougon student accommodation at the University of Cocody in Abidjan, now known as Felix Houphouet-Boigny University. This dance consisted of throwing one’s arms in the air with angular movements, mimicking an imploration to God to help the university students that were suffering under the budgetary cuts in the education sector (fewer scholarships, inadequate student housing, catering and transport, etc.)...

The musical group Zougloumania, founded by the duo Poignon and Bouabré in 1990, was the biggest of the "First Generation" of zouglou groups. Its first and apparently only release, Zomammanzo (EMI E028991-4, 1991), hit the scene like a bombshell, becoming the greatest hit of the zouglou era, exceeded only by Magic System's "Premier Gaou," released in 1999. Listening to it, it's not hard to understand why - every track on Zomamanzo is a scorcher!

After this auspicious debut, Poignon and Bouabré went ther seaparate ways, bringing an end to Zougloumania. Bouabré moved to France and Poignon remained in Abidjan, becoming a solo artist as well as performing with Les Doyas, a trio composed of Poignon, Alan Bill and Yodé Côcô. He has lately been afflicted with facial paralysis and is in need of proper medical care. Let's hope he recovers soon!

Enjoy Zomamanzo!

Zougloumania - Zomamanzo

Zougloumania - Elle a Bu Degue

Zougloumania - Djaba

Zougloumania - Zito

Zougloumania - Ah Ma Soeur

Zougloumania - Tchicala

Zougloumania - Kapa

Zougloumania - Zomamanzo (Instrumental)

Download Zomamanzo as a zipped file here.

Coastal Sounds From Kenya

I think the Pressmen Band, described as "teen sensations" in their heyday, are still extant and catering to the tourist trade around Mombasa, Kenya. Today's offering by them, Dash-Dash (CBS (N) 034), is from the late '80s and features the chakacha coastal sound that they helped to popularize along with  bands like Them Mushrooms and the Mombasa Roots Band, who were featured in an earlier post.

The opening tune, "Musenangu," was a big hit for the Pressmen. It's in the Chonyi language and is about two lovers who are parting ways. Although this sort of music isn't exactly my favorite, there's no denying its popularity, not only among tourists but among Kenyans of all walks of life. Enjoy!

The Pressmen Band - Musenangu

The Pressmen Band - Dash-Dash

The Pressmen Band - Tutakwenda Nae

Thanks to the commenter "Sashahon" on YouTube for transcribing and translating the lyrics to "Kadogo":

We kadogo nakupenda
Nikuone uwe wangu
Na mimi sina mwingine
Nimpendaye kama wewe
Usingizi siupati, Nikifiki ulivyo
Fanya hima tuonane, tuelewane pamoja
We kadogo..
Waniacha mi naponda, kwa kufikiri wewe
Moyo wangu wateseka, vile nakupenda you
We kadogo..  

Kadogo I love you
I want to marry you so you'll be mine
I don't want anyone else
That I love as I love you
I can''t sleep thinking about you
Try we meet so we come to agreement
We Kadogo...
I yearn for you in my thoughts
My soul suffers for loving you
We Kadogo...

 The Pressmen Band - Kadogo

The Pressmen Band - Ua Langu

The Pressmen Band - Sofia

Download Dash-Dash as a zipped file here.