Note: This post was updated and corrected on January 4, 2009.
Back in the early '90s I got it into my head that I would like to become a record mogul and release my own series of African discs. So on the occasion of my second visit to Nigeria in December of 1995 it seemed like a good idea to visit some record companies there to propose licensing some music to release in the U.S.
In Lagos I met with A.J. Ejuichie of Premier Music (successor to Polygram Nigeria) and Femi Dairo of Ivory Music (successor to EMI Nigeria). They are pictured below, left and right. Executives at Leader Records and Ibukun Orisun Iye were out of town, although I purchased a lot of great music at their retail stores. Ditto for Rogers All Stars in Onitsha.
Truth be told, I have no business sense so the record company idea was basically a pipe dream. I suspect Mr. Dairo & Mr. Ejuichie realized I had no idea what I was doing although they were exceedingly friendly and gracious. Mr. Ejuichie informed me that the rights to the entire Polygram Nigeria catalog had been licensed to a company called Mossiac Music in New York City.
Mossiac issued upwards of 30 CDs in the late '90s; not only classic highlife from the old Polygram catalog but recordings by the Oriental Brothers, Igbo traditional music, even a four-CD Best of Osadebe set! Unfortunately Mossiac went under without a trace. It seems to have had zero distribution outside of the Nigerian community, not even through Sterns! I suspect that whoever was behind the mysterious "Mossiac Music" lost serious coin. Well, better him than me!
I myself have been able to obtain only a few Mossiac releases. One of these is Rusted Highlife Vol. 1 (Mossiac Music MMCD 1812), which boldly departs from the usual fare of recent highlife reissues to showcase some obscure but wonderful tracks from the late '60s and early '70s, when the old danceband paradigm was yielding to the harder, stripped-down guitar highlife style.
I haven't had time to sit down with Priscilla and do translations of the song lyrics. I'll try to do so and update this post later.
The Professional Seagulls Dance Band of Port Harcourt, led by David Bull, were formerly the Rivers Men, the backup band of highlife superstar Rex Lawson. Following his death in 1971, they struck out on their own, and scored a number of major hits, including "Afro Baby" and "Atabala Woman." An earlier posting, following the incorrect liner notes of Rusted Highlife Vol. 1, credited these tracks to Emmanuel Vita & the Eastern Stars Dance Band. The liner notes also transpose the song titles:
Professional Seagulls Dance Band - Afro Baby (Baby Wayo)
Professional Seagulls Dance Band - Atabala Woman
The late Chief Stephen Osita Osadebe was the last great exemplar of the danceband highlife sound before his death on May 11, 2007. Here are two tracks by him that have never appeared on any of his LPs to my knowledge.
Chief Stephen Osita Osadebe & his Nigeria Sound-Makers - Uwa Bu Egwu
Chief Stephen Osita Osadebe & his Nigeria Sound-Makers - Amala
Of course, you're familiar with Dan Satch & his Atomic 8 Dance Band of Aba from this post. Dan Satch Joseph (not Dan Satch Opara of the Oriental Brothers!), a former sideman in Bobby Benson's band, formed the Atomic 8 Dance Band in 1962. Although the Atomics were known to dabble in Afrobeat, "Baby Pay My Money" and "Take Your Notice" show them in classic danceband highlife mode.
Dan Satch & his Atomic 8 Dance Band of Aba - Baby Pay My Money
Dan Satch & his Atomic 8 Dance Band of Aba - Take Your Notice
The Eastern Ministers Guitar Band, like the Oriental Brothers and their various offshoots, hailed from the Owerri area. The Eastern Ministers had several huge hits, including "Nwa Ka Ego" and "Uwa Tutu Uwa Fufu [The World is Sweet and Painful]." The melody and guitar work of "Ihe-Chi-Nyerem," the Orientals' first record, were obviously inspired by the spare, rough-and-ready sound of "Nwa Ka Ego," recorded a couple of years earlier. The two groups' vocal styles are quite different, however.
Eastern Ministers Guitar Band - Nwa Ka Ego
Eastern Ministers Guitar Band - Enu Uwa
B.E. Batta and Emmanuel Vita of the Eastern Stars Dance Band were from Nembe in Rivers State. They had played with Rex Lawson's band before striking out on their own. It is quite possible that Warrior of the Oriental Brothers, in crafting his famous "shouting" singing style, modeled himself on Vita, who had a similarly powerful voice.
B.E. Batta & Eastern Stars Dance Band - Solo Hit (Nwaocholonwu)
B.E. Batta & Eastern Stars Dance Band - Mme Eyedi
Eastern Ministers Guitar Band - Ariri Otu Nwa
Eastern Ministers Guitar Band - Uwa Tuto Uwa Fufu
As I knew nothing about the next two artists, Demmy Bassey and Burstic Kingsley Bassey, I asked Uchenna of With Comb & Razor, who told me that Kingsley was a well-known performer at the Luna Night Club in Calabar during the 1970s. His popularity never extended much beyond the Cross River area, though. Uchenna could tell me nothing about Demmy Bassey. "Bassey," by the way, is a very common surname in the Cross River-Akwa Ibom area.
Demmy Bassey - Abisi Do
I thought "Ima Abasi" sounded familiar, so I got out my copy of The Hit Sound of the Ramblers Dance Band (Afrodisia WAPS 25) and put it on the turntable. Well well, the exact same recording shows up on side two of this hit album by the venerable Ghanaian highlife orchestra! There is no mention of Kingsley Bassey in the liner notes, although a "Len Bassey" is given songwriting credit. The lyrics, according to the notes, describe a fellow who pleads with his girlfriend, ". . . all you do is kick me about and boss me around. . . Call me no names. Just work your charms on me, darling, for I love you."
Kingsley Bassey - Ima Abasi
Trumpeter St. Augustine Awuzia was from the Igbo-speaking area west of the Niger River in present-day Delta State, and came into his own (having previously been a sideman in various Lagos highlife congregations) as a soldier in the Federal Army during the Biafran war, where he led his own band. "Ashawo No Be Work," a huge hit, addressed the many "ladies of the evening" who frequented the band's concerts. The title literally means "Prostitution is Not Work":
St. Augustine & his Rovers Band - Ashawo No Bi Work
St. Augustine & his Rovers Band - Abu Special
The late Inyang Henshaw, foremost avatar of the Efik highlife sound, pays tribute in two songs to the great musician Cardinal Rex Lawson:
Inyang Henshaw - Nkpakara Wo (Tribute to Rex Lawson 1)
Inyang Henshaw - Tribute to Rex Lawson 2
The map of eastern Nigeria below can be used to locate some of the areas mentioned in this post (click to enlarge).
Sunday, October 5, 2008
Saturday, September 27, 2008
With the kids back in school and monopolizing the computer, and me swamped under a ton of overtime, I just haven't been able to give this blog the attention it deserves. As usual, I have several posts in progress, which I'm putting the finishing touches on, but I haven't wrapped things up yet.
Still, I want to put something up, so here goes:
You're probably familiar with Matt Temple's blog Matsuli Music. Last year, shortly before I started Likembe, I compiled an installment in his great "African Serenades" series. It was Volume 47 in two parts, subtitled African Divas 1 and African Divas 2, a selection of great female vocalists from across the continent.
I'm really proud of the work I did on this collection, but it was only online for a week or two on Matsuli Music. So I'm bringing it back into the light of day here. Here's the tracklist for Volume One:
1. E Beh Kiyah Kooney – Princess Fatu Gayflor (Liberia)There are a few tracks you will recognize if you've been following Likembe for a while, but most may be new to you. In a departure from my usual practice, I'm posting this as a zipped file (108 MB) rather than as individual tracks, as it was meant to be listened to as a unit. An inlay card has been included as a Word file if you want to make your own CD. Volume 2 will follow shortly:
2. Haya – Khadja Nin (Burundi)
3. Ndare – Cécile Kayirebwa (Rwanda)
4. Du Balai – Angèle Assélé (Gabon)
5. Kalkidan – Hamelmal Abate (Ethiopia)
6. Ezi Gbo Dim - Nelly Uchendu (Nigeria)
7. Odo (Love) – Sunsum Band featuring Becky B (Ghana)
8. Dikom Lam La Moto – Charlotte Mbango (Cameroun)
9. Kuteleza Si Kwanguka – Lady Isa (Kenya)
10. Vis à Vis – Monique Seka (Côte d’Ivoire)
11. Femme Commerçante – M’pongo Love (Congo-Kinshasa)
12. Fe, Fe, Fe – Tina Dakoury (Côte d’Ivoire)
13. Koumba – Tshala Muana (Congo-Kinshasa)
14. Fote – Djanka Diabate (Guinea)
African Divas Vol. 1
As promised, here is African Divas Vol. 2, originally posted last year as African Serenades Vol. 47b at Matsuli Music.
I apologize for the brevity of this post. Perhaps in the future when I have more time I will update it to include background information about these wonderful singers:
1. Abidjan Adja - Antoinette Konan (Côte d'Ivoire)African Divas Vol. 2
2. Barika Barika - Djeneba Seck (Mali)
3. Meta Meta - Martha Ashagari (Ethiopia)
4. Ami - Bebe Manga (Cameroun)
5. Ekwe - Onyeka Onwenu (Nigeria)
6. Medim Me Yom - Tity Edima (Cameroun)
7. La Paille et la Poutre - Nimon Toki Lala (Togo)
8. Mundeke - Afrigo Band featuring Rachael Magoola (Uganda)
9. Takko Wade - Kiné Lam (Senegal)
10. Keffa - Abonesh Adnew (Ethiopia)
11. Nyu Madin - Marthe Zambo (Cameroun)
12. Don't Let Me Go - Hindirah (Côte d'Ivoire)
13. Pare Chocs - Vonga Aye (Congo)
14. Dieleul-Dieuleul - Aby Ngana Diop (Senegal)
Saturday, September 13, 2008
As part of this blog's ongoing effort to bring to light obscure and hard-to-find recordings from Ethiopia, I present a 1992 cassette, Mahmoud Ahmed Live in Addis Ababa (Ambassel Music Shop).
This recording is interesting in light of the fall of the brutal regime of Mengistu Haile Mariam on May 19 the previous year. Suddenly the riches of contemporary Ethiopian music became far more available to the outside world. Live, along with a number of other cassettes, was licensed to an Ethiopian entrepreneur in Washington, DC, who was able to use mass-market technology to duplicate it. These cassettes were therefore of somewhat better quality than the haphazardly-copied Ethiopian editions (the cassette inlay cards were printed in Ethiopia).
Live is marred somewhat by the use of synthesizer and drum machine, but it offers an interesting look at one of the masters of the Ethiopian groove on his home ground. Of course, I have no idea if the lyrics reflect the tumultuous changes occurring in Ethiopia at the time.
A member of the minority Gouarague ethnic group, Mahmoud Ahmed was born on May 8, 1941, and rose from very humble origins as a shoeshine boy to become the best-known Ethiopian musician internationally, thanks mainly to his ground-breaking record Erè Mèla Mèla (1975), which has been reissued several times in the last 20 years.
The cassette lists twelve songs, but three, "Enmane Nebru," "Yuy Heregitu" and "Naye Danune Tesau," are missing. As usual, I've transliterated the song titles utilizing the Geez syllabary. As there are undoubtedly errors, I'm making the original inlay card available to anyone with a knowledge of Amharic (I suspect some of these songs are in other languages as well). Your input is gratefully solicited!
Mahmoud Ahmed - Alaweqeueleoeme
Mahmoud Ahmed - Menafeqy Gwadaoe
Mahmoud Ahmed - Enedyte Yerlale
Mahmoud Ahmed - Mela Tesxoe
Mahmoud Ahmed - Elemaze Mene Oeda Newe
Mahmoud Ahmed - Tezeta
Mahmoud Ahmed - Enegeday Nu
Mahmoud Ahmed - Enedagna
Mahmoud Ahmed - Imisemamaoe Axahuoe
And if you'd like to hear some more Mahmoud Ahmed at the top of his form, I've zipped and uploaded recordings of two concerts he did in Amsterdam a few years ago. These were originally posted at Matt Yanchyshyn's wonderful blog Benn Loxo du Taccu and are made available with his permission. Download them here (warning: this is a 141 megabyte file) . I may decide to take these down in a couple of weeks, so get 'em while they're hot! Here's the setlist:
2. Endet Nesh
3. Wey Fikir
4. Belomi Benna
5. Libesh Kabashini
6. Ney Denun Teseshi
7. Ere Mela Mela
12. Sab Sab Argign
13. Hulum Bager Naw
Saturday, August 30, 2008
What is the deal with Moos, over at Global Groove? Can he read my mind? As I noted here, I had wanted to post the LP Somo Somo, but Moos posted it first. I've been wanting to post another great LP, Super Diamono de Dakar's classic People (Feel One DK015, 1987) for some time, and once again Global Groove beats me to the punch! Seriously, Moos' blog, having been online only a short while, is a "must go to" site featuring all kinds of rarieties from Africa and the diaspora. So, check it out.
I have a trump card, though: Euleuk Sibir! (Xippi), the mid-'90s collaboration between Senegal's top two stars of mbalax, Youssou N'Dour and Omar Pene, lead vocalist of Super Diamono de Dakar.
In an earlier post I wrote, ". . .I think most people in the know would agree that the three top male vocalists in Senegal are Youssou N'dour, Thione Seck and Omar Pene. To say one of these is 'the greatest' is to miss the point; that's like comparing apples, oranges and kiwis." On reflection Baaba Maal should probably be added to that pantheon also, not that there isn't a flock of other great Senegalese vocalists as well!
If you're reading this, I assume you have at least a cursory knowledge of Youssou N'dour and his Super Etoile de Dakar (and if you don't, go here). Omar Pène is a lot less well-known outside of Senegal, but he easily approaches N'dour in terms of popularity and sales in that country. He founded Super Diamono in 1975, and has had a number of smash hits with the group in the years since. Pène's lyrics are notable for their concentration on social issues as opposed to the praise singing that characterizes much African music.
Youssou and Omar are friendly competitors who each have rabid followings. The Super Diamono sound could be characterized as "darker" and "bluesier" that that of Super Etoile. To my knowledge, the cassette Eueleuk Sibir! is their only recording together, and it's a certifiable classic. But don't take my word for it - hear for yourself!
Omar Pène & Youssou N'dour - Euleuk Sibir!
Youssou N'dour & Omar Pène - Silmaxa
Omar Pène - Tongo
Youssou N'dour & Omar Pène - Warougar
Omar Pène & Youssou N'dour - Indépendance
Youssou N'dour - Ndanane
Discography of Youssou N'dour & le Super Etoile de Dakar
Discography of Omar Pène & Super Diamono de Dakar
You can download Euleuk Sibir! as a zipped file here.
Sunday, August 24, 2008
This has been out a few days, so you may have seen it, but the latest Village Voice takes note of Likembe and several other African music blogs. It's a fairly good overview, although I and several others have noted that the essential With Comb and Razor blog is totally ignored. Read the article here.
Friday, August 22, 2008
Guitarist Mose Se Sengo "Fan Fan" was a crucial member of Franco's Orchestre TPOK Jazz from 1967 to 1972. In that year he left, and after some time in Orchestre Lovy, founded the first of several orchestras called Somo-Somo in 1974. This band was short-lived, and Fan Fan soon made his way south and east, first to Zambia and then Tanzania, where he played with the legendary Orchestra Makassy, composing some of its greatest hits, notably "Ciska," "Mosese" and "Molema." Moving on to Nairobi in the early '80s , he founded another iteration of Somo-Somo, recording two LPs and several singles with the group.
In the mid-'80s Fan Fan ended up in London where he formed a new Somo-Somo band, which recorded a wonderful LP entitled, of course, Somo-Somo (Sterns 1007, 1985, left). What set this London version of the band apart from the earlier incarnations was that, apart from Fan Fan, fellow Congolese N'Simba Foquis and South African vocalist Doreen Thobekile Webster, it was composed entirely of British session musicians.
I suppose the line-up of the UK Somo-Somo was more a product of necessity than design (Unlike, say, Paris, there is a dearth of Congolese musicians in London), but the tracks on Somo-Somo, mainly reworks of songs Fan Fan recorded earlier in Africa, have a punchiness and vitality lacking in many of the more formulaic Paris productions. The extensive use of saxophones really sets it apart - talk about making lemonade from lemons!
Somo-Somo has long been out of print. For some time I've wanted to digitize it and make it available here, but wouldn't you know? Moos, over at the blog Global Groove, has beat me to it! You can download it here.
However, I have two more hard-to-find Fan Fan tracks for you, apparently recorded around 1983 during his sojourn in Kenya. I have no idea what the lyrics of "Kimoze-Moze" (Editions FrancAfrique EFA 015) are about but the chorus does seem to share a theme with Fela Anikulapo-Kuti's classic recording "Lady." Musically, of course, the songs have nothing in common:
Mose Fan Fan et son Orchestre T.P. Somo-Somo - Kimoze-Moze Pts. 1 & 2
And here's Fan Fan's cover of Pamelo Mounk'a's classic tune "l'Argent Appelle l'Argent" (Editions FrancAfrique EFA 013):
Mose Fan Fan et son Orchestre T.P. Somo-Somo - l'Argent Appelle l'Argent Pts. 1 & 2
You can get Pamelo's original here.
An excellent overview of Fan Fan's career is available on the CD Belle Epoque (RetroAfric RETRO 7CD), issued in 1994 and
available here. Several recent recordings by this consummate professional are available from Sterns.
Saturday, August 16, 2008
Note: This post was updated on September 20, 2008, to incorporate comments by reader/listener Iman.
In response a to a request from reader/listener Mike K., I'm happy to post more taarab music from the Indian Ocean coast. The selections here are taken from two cassettes, Pendo Kazi Yetu by the Jasmin Musical Club (FLATIM/Ahadi AHD (MC) 023) and Pendo La Dharau by the Shani Musical Club (FLATIM/Ahadi AHD (MC) 035). While a friend brought these back for me from Nairobi some years ago, I've never really listened to them until now. They're quite nice, though, despite the dodgy audio quality. As FLATIM/Ahadi productions, the packaging is similarly lacking in style:
Doug Paterson writes, at Musikifan:
". . . Badly mastered? Surely you jest? The cassettes have gone through a rigorous controlled process starting with duplication of the original one track tape from Radio Tanzania, the creation of a cassette master at the Nairobi's Valley Road Pentecostal Church (an actual studio), and then home duplication on Livingstone Amaumo's comsumer grade cassette recorder on blanks from no-name Asian manufacturers. At least that was the process back in 1988.I've always thought the crew at FLATIM deserved major kudos for keeping this music in circulation throughout the eighties and nineties, despite the technical limitations of their work. They put out some amazing stuff, a complete listing of which you can read here.
"Since then Livingstone actually uses professional tape duplicators who aren't too bad. The quarter inch tape masters (duplicates) were always a bit dicey but the rest of the process really took its toll.
In another message, Doug explains the acronym: "FLATIM stands for (the late) Franklin Livingstone Amaumo and Tido Dunstan Mhando. Tido, former head of the BBC Swahili Service and now head of TUT (Tanzania's state-owned radio and television services), was once Livingstone's Tanzanian partner in FLATIM."
I've been unable to find out anything about the Shani Musical Club or Jasmin Musical Club. I suspect they are from the Tanga area in mainland Tanzania, as are the Black Star Musical Club. At least their style is quite similar. But that's pure conjecture on my part. Iman writes:
I really can't tell where these bands are from, you are probably correct in your conjecture. They are using words that are beyond my vocabulary and this is not surprising seeing as that us Nairobians are often ridiculed for our poor grammar - it could also be just me. In any case, I have translated the titles as you have posted them and gone a little further with some of them.Here's a heaping helping of nimble guitar work, funky Farfisa organs, and passionate Islamic vocals from the land of the Swahili! In regards to our first song, "Mjamili," Iman writes, "I have no idea what this word means. When I listen to it, it sounds more like 'Mjamali' which I also don't understand! I asked a friend though and he is trying to figure it out. But from the few lyrics I could pick up, he seems to be sad about something. One of the lines I picked up: My heart is burning and you are the firewood."
Jasmin Musical Club - Mjamili
"'Mama wa Kambo' = 'Stepmother'"
Jasmin Musical Club - Mama wa Kambo
"'Pendo Limetakasika' = 'This Love Has Gone Bad'"
Jasmin Musical Club - Pendo Limetakasika
"'Nakonda Kwa Huba': Literally 'I am losing weight over love.' This one is actually kinda funny and sad at the same time! My favorite of the bunch. He is basically saying: 'All the wrongs you have done me make me laugh and really shock me. Remember how good our love used to be? I believed you when you said you loved me and now it seems like you have grown tired of me. Have you no God? How can you harass me this way? I am a fool for your love. I am hungry for your love.'"
Shani Musical Club - Nakonda Kwa Huba
"'Ewe Wangu Nateseka': 'My Love, I am Suffering.' Her lover has left and she is asking him to return soon.
Shani Musical Club - Ewe Wangu Natiseka
"'Moyo Hukipenda Hula': 'The Heart Wants What it Wants' (even if it is bad). Something close to 'I can't help what I love.'"
Shani Musical Club - Moyo Hukipenda Hula
The artwork at the top of this post is from the website Zanzibar Henna Art. The site is a bit rudimentary now, but hopefully it will be updated soon. Browse the site, read about the artists, and consider buying the set of postcards that is available.
Saturday, August 9, 2008
Today marks one year since Likembe first went online on August 9, 2007. One thing I've discovered in a year of blogging is that it's a lot harder than it looks! It's been a lot of fun, nonetheless. I've made a lot of new friends and rekindled some old friendships and gotten out a lot of great music. My biggest regret is that I just haven't had time to digitize more stuff and put it online.
Here's a snapshot of daily visitors from August 14, 2007, when I started receiving Google Analytics, and July 30 of this year:
As you can see, the site started out with less that 50 unique visitors daily. Today it averages around 150, with a few spikes for posts that seem to have gotten a lot of attention. Here is a list of the top 20 posts, as measured by unique visits, as of August 1:
1. Somali Mystery Funk (1000 unique visits)While it's no surprise that Somali Mystery Funk made Number One (if barely), the inclusion of Mali Cassette Grab Bag: Djeneba Seck, Tata Bambo Kouyate, Naïny Diabate, Yayi Kanoute, Djamy Kouyate on the list is a revelation, as it generated zero comments when I first posted it! There must be a lot more fans of Sahelian female vocalists than I'd realized! Keep in mind that by its nature this list favors older posts, otherwise I'm sure Memories of Oliver de Coque would have made the cut (it's number one in the rankings for July 2008).
2. Tanzania Hit Parade '88 (999)
3. The Elusive "Igbo Blues" (895)
4. By Request: Mbaraka Mwinshehe (811)
5. Ethiopian Honey (805)
6. More Somali Funk: Sahra Dawo & Durdur (777)
7. Dakar Divas Pt. 1: Kiné Lam (720)
8. Ikenga Super Stars: Kickin' Ikwokilikwo! (709)
9. Mali Cassette Grab Bag: Djeneba Seck, Tata Bambo Kouyate, Naïny Diabate, Yayi Kanoute, Djamy Kouyate (679)
10. Nigeria's Golden Voice (678)
11. East African Memories (625)
12. Dakar Divas Pt. 5: Viviane N'dour (618)
13. Oliver de Coque is Dead (618)
14. A Long-Lost Highlife Classic (613)
15. More Ethiopian Honey (607)
16. Sikinde Ngoma Ya Ukae! (594)
17. Dakar Divas Pt. 3: Aby Ngana Diop (592)
18. Some Recent Tunes From Ghana (577)
19. More Mbaraka (567)
20. Kabaka: Mangala Special (561)
As to where you are, here's a map:
The list of the top twenty countries in terms of visitors is as follows:
1. United States (17,985 visits)No big bombshells here. A lot of people would be surprised that Colombia made number 7, but I'm not (a lot of major African music fanatics down that way!) Every country in Africa is represented, save Libya, Chad, the Central African Republic and Western Sahara. A surprise for me has been the number of visits from Somalia (71), given the state of unease in that country. From the very beginning there has been a small but steady stream of visitors from the Middle East, notably the Persian Gulf countries. Starting in October, when "Likembe" was linked on a Russian-language blog, there has been regular traffic from the former Soviet Union. Mainland China has just started to log in as of July (26 visits so far).
2. United Kingdom (6703)
3. France (4296)
4. Germany (3363)
5. Netherlands (2434)
6. Canada (2255)
7. Colombia (1942)
8. Sweden (1478)
9. Belgium (877)
10. Spain (866)
11. Italy (800)
12. Australia (722)
13. Japan (694)
14. Kenya (568)
15. Switzerland (557)
16. Greece (509)
17. South Africa (460)
18. Brazil (436)
19. Argentina (391)
20. Russia (370)
Mad props to those blogs who inspired me to get this thing going: Benn Loxo du Taccu, Matsuli Music, With Comb and Razor, Aduna, Steve Ntwiga Mugiri and Voodoo Funk, and a big shout-out to the sites that have debuted in the last year: Africolombia, Afrocaribe, African Music Treasures and Orogod (hope I didn't leave anyone out!).
Now, if I may ask for a few moments of your time, I'd appreciate some feedback about the site: what do you like about it, what don't you like, technical suggestions, what sort of music you'd like me to post in the future, etc. And if you're so inclined, tell us about yourself: where you're from, how you heard about the site and your interests. Be as brief or as wordy as you'd like.
Friday, August 1, 2008
Our friend Aduna is back from Madagascar with un petit cadeau, "Tulear Market Mix," eleven nuggets of wailing vocals and frenzied guitar-picking from that city in the southwest corner of the island. You are wholeheartedly encouraged to download it here.