Amnesia

If you are living outside of the Netherlands you may be (blissfully) unaware of this, but we are experiencing stress. This Wednesday there will parliamentary elections, and things are heating up the last few days.
At least, in the media....

I'm not sure what your image is of this country, but until a decade ago the mere mention of my country of origin would in large parts of the world raise a smile, - or at least a grin. Apparently Holland was associated with a range of 'civil liberties' which were seen by many as desirable, if not - in some occasions - craved for. Besides these liberties we Dutch were praised for our tolerance, and particularly of other cultures.
I am sorry to have to report this, but we Dutch have thrown all this out of the window. Instead we have adopted the narrowmindedness (if not 'closedmindness') and xenophobia of which until recently we were prone to accuse other countries.

Politically this has gone hand in hand with parties with "freedom" somewhere in their name. And with these it is like mobile phones: a "smart" phone does not refer to what it gives, but what it takes away. Subsequent governments have over the last decade done little for many and a lot for few. Key word in this reverse Robin Hood campaign has been "The Economy". Numbers, statistics, predictions and self-proclaimed experts have conjured up an entity bigger and more powerful than any pagan idol in history.
And the 'few'? One only has to look at what has happened to those who left politics, - often under the pretense of withdrawing from the hectic rush of 'public life'. Cushy jobs with large accountancy firms, in international banking. Member of this board, or advisor to that. And not just one of these, but preferably a few ... nothing too arduous though.

I am sure this phenomenon is not limited to this country. In the age of networking the 'old boys' have found their niche. And what used to be blatantly "our thing" has now been cunningly relabelled to "economic necessity" and similar compelling catchwords.

With the help of the media the electorate is soporificated, sedated into accepting the choice between 'old boys A' and 'old boys B'. Brainwashed, the voters will again vote for the parties that will rescue The Economy, - and in doing so will continue relieving them of their liberties. It will take a few years for the voters to emerge from this state of amnesia, but when they do there will be new elections. And the cycle will begin again.....

As a tribute to the tolerant past of this country, I would like to share this album by the late (he died in 2008 - see this article and this wiki) Nigerian highlife star Orlando Owoh. The "Part II" would suggest a part one, but I have personally never seen it (but this discography assures me that it does exist).

Although I have to admit that Owoh's voice may lead to a state of soporification, in my experience this has only had a beneficial result. I would even go as far as to recommend this album as an acute remedy against any form of amnesia!

SOS 126

Peacock comfort

I am aware that Moos at Global Groove has posted an album by this very same group a few days ago. But in this case I can't resist adding my contribution to a well-deserved eulogy of the fantastic Peacocks International.

According to the inimitable John B. of the matching Likembe blog in the notes to the discography of this band on Professor Toshiya Endo website, the liner notes of the lp-version of this cassette claim: "..yet only very few of the millions of fans within 150,000 family units in Nigeria and Ghana really know who the Peacocks are. Some call them Ghanaians and are ready to stake anything to argue their claims, but call them what you like, the boys are Nigerians."

As an outsider I am truly amazed. I have never been in any doubt as to their nigerianess. And, it may be my total ignorance of efik, ewe, igbo or any of the other languages they may sing in, or call it intuition if you like, I had a nasty suspicion they might be from the igbo-side of Nigerian music.
Whether it is the music of that late Consistent King of Highlife, Stephen Osita Osadebe, or these Peacocks, there is a definite comforting feel about this music. I have had plenty of time to analyse this, as I have had this cassette for a few decades and have listened to it hundreds of times.

There is magic in those guitars, the passionate harmonies and meticulous percussion. And this is amply demonstrated in the songs on this cassette. You just haven't lived if you haven't listened to that opening of "Sambiro", or have joined in* the chorus of "Sambola Mama" or "Isuola Me" while driving at top speed on the motorway. And my head has an irresistible tendency to start wobbling listening to "Kinkana Special". And I could go on, but it might get embarrassing...

If you want to know more about the group I am afraid I will have to direct you to John's Likembe blog. I am still hopeful that he will share some more Peacock music with us.

EMI HNLX 5096(cassette)

* well, just the sounds and not really the words....

Velvet

I really had no intention of dedicating a post to this singer from Nigeria, but one of the tunes has been stuck inside my head for nearly two weeks now. So I am hoping writing about it may be conducive to the process of exorcism (so to speak).

You may remember my post about the great Tunde Nightingale, where I expressed my puzzlement about the nickname reserved for this singer. It just goes to show that when it comes to vocals there may be some cultural differences between my western perception and that of the varied African peoples. "Peoples", for Tunde was not the only vocalist with this 'nom de plume' (or 'nom de micro', if you like). There is Rossignol (real name: Philippe Lando), star of the first line-up of the O.K. Jazz and co-founder of Rock-a-Mambo. And I remember a record (which can still be found on the Global Groove blog) where Tchico - normally also a "rossignol" - is called a "ladybird" (at the end of the song "Oh! Maman Chérie")!

In this case I am puzzled about the adjective used to describe the voice of Alhaja Hassanah Waziri.
"Velvet"??
Unless it is meant as a clever alternative to "rough" or "rough-edged" I am at loss for the source of this label.
Maybe it is a cultural thing...

And that brings me to the reason for my original reluctance to post her lp. For as to her roots I can only speculate. The reference to her in the discography of Alhaji Waziri Oshomah may suggest a (family) relationship. Perhaps she is also from the Etsako region of Edo State?

As a layman when it comes to highlife in general and Nigerian highlife in particular I am at times reminded of the likes of Orlando Owoh, i.e. of what I would like to call the more 'muddy' variant of Nigerian highlife. As a bonus Ms. Waziri has a nice horn section backing her, and that's one thing I have never heard with Owoh (but then, what do I know?).

The song stuck in my mind is, by the way, "Emomhe Alhaja Awawo Oigbesor". Be warned...

Shanu Olu SOS 219 (1986)

Why worry?

I know I shouldn't, but I can get very worked up about stupid adverts. Unfortunately for me, there is an ever expanding range of those, and the level of stupidity has gone down to way below what until not very long ago was considered absolute zero. When it comes to that paradigms shift faster than the speed of light......

One advert that has completely put me off buying anything from that particular brand is by a manufacturer of cameras. In this advert a lady announces that she is a type of camera. Who are you kidding, woman? Are you receiving treatment for this psychopathic delusion?!

And this brings me seamlessly (!) to the subject of this post. For there are very few musical groups that have a name that is more inviting, more curiosity provoking than the group of the late Suberu Oni. Indeed: Why Worry?

I have attempted to dig up some background to this musical master from Nigeria, but have found it a challenge. Suberu Oni appears have been one of the pioneering highlife artists rising to fame in the 1950s and 1960s. A contemporary of Ayinde Bakare and Theophilus Iwalokun, he was a native of Ondo (and assume they mean the city in the state of the same name) and sang in a local Ondo dialect with a distinct, deep guttural voice.

The name of his record label suggests Suberu Oni was proud of his origins. The name Ekimogun is probably related to the name of an annual event. "On Ekimogun Day all sons and daughters of Ondo Kingdom at home and in the Diaspora come together to showcase their culture and raise funds for the development of their community.
In the past 23 years that the Ekiomogun Day has taken place, hundreds of indigenes have benefited from scholarship awards and trainings, through the funds generated by the organisers of the event, the Ondo Development Committee."
I think it would be too much of a coincidence to assume that Oni´s label led to the naming of this event. It seems more likely that both refer to another element of Ondo tradition and/or culture.

As to this lp, I am totally in the dark when it comes to titles and other useful info. Perhaps someone can help us out. If not, we still have the solid, old style music and those remarkable voices. And that in itself is good enough, if you ask me.
So why worry?

Ekimogun EKLP 096 (alternative link)

Eighty

I was happy to read this article about the celebration of the great Victor Olaiya's eightieth birtday. Happy, because at least one of my musical heroes has reached the age of eighty. And also happy, because he has not done so in total obscurity, forgotten by generations that have never heard the truly miraculous highlife this man has produced. And certainly also happy, because it provides me with another opportunity to share some more of his music with you!

Here in the Netherlands we are enjoying another patch of splendid weather, which makes this music even more appropriate. But with a bit of imagination it also works with the worst storm and rain.

This is music which will melt even the coldest soul, which will comfort the inconsolable.

All seven tracks are jewels, but my personal favourites are "Laba Laba", a brilliant example of Nigerian highlife at its very best, Kendy Adex*'s "Ije Jemila", music to lie down and dream away, and especially "Iyawo Patako", a seemingly unpretentious masterpiece with an almost unbelievable durability, a song which has over the last 25 years sounded fresh and has never failed to move me every time I heard it.

But I also love the trumpet and the singing (by the master himself) in "Moonlight Highlife" and in the opening "All Stars Invitation" (great bit of trumpet playing after 2'30!).
With "So Fun Mi" and "Me Fe Mu'Yan" (mentioned in the article I referred to at the beginning of this post) I can't help thinking I am missing most of the song because the emphasis appears to be on the lyrics. But I realise this is just my own inadequacy in not understanding the language...

Polygram POLP 073

PS: Another article about Olaiya´s birthday can be found here.

*who - as far as I know - is also a trumpet player.

Kofi Sammy

As I have written before, I am a bit of an ignoramus when it comes to Ghanian highlife. It doesn't mean, however, that I don't have some preferences within the broad scope (both in time and in variety) of this music.

And Sammy Kofi (often referred to as Kofi Sammy) and his Okukuseku International are certainly among my favourites. Or perhaps I should write "were". Because I am not too sure about Mr. Kofi's more recent exploits. I refer you to a video on YouTube in which he confesses to be with "Jesssusss"....

I prefer his work from the 1970s and 1980s, and particularly the lp I am sharing with you in this post (although the one I posted earlier is also high on my list).

A quick study reveals that Sammy Kofi started Okukuseku in 1969, as "Okukuseku's No. 2 Guitar Band" initially (?). He had a background in the concert parties, which developed into guitar band highlife. He went through some famous orchestras before founding Okukuseku, notably E.K Nyame No.1 Band and Dr. K. Gyasi's Noble Kings. Okukuseku soon established itself as one of the leading guitar band highlife acts in Ghana. Despite the band's success, the "economy"* forced them to move to Nigeria at the end of the 1970s. Fortunately they continued recording, this time for Rogers All Stars.

I would like to draw your attention, by the way, to this site where a Canadian musician claims his father had a record of Okukuseku's No.2 Band from 1967. This seems to confirm my impression that there are still a lot of subjects to be researched more closely when it comes to highlife music...

Zooming in on the album I am particularly impressed by the overall quality of the music. The vocals are harmonious, the guitars are sparkling, the rhythm is jumpy and yet flowing. It is not hard to draw comparisons to East-Nigerian stars like Stephen Osita Osadebe, yet Okukuseku retains its own strong originality. I gather they sang (continued singing) in Twi, but must have made some allowances for their Nigerian audience as well.
I suspect the track "Maria" is one of those. As it happens, this is my favourite among favourites. This song has it all: great composition, great guitars, great vocals, lyrics with a touch of the dramatic, and Mr. Kofi talking, addressing Maria, imploring her to come back to him.

RASLPS 007 or RASLPS 007

* a word which nowadays can be used in any sentence, replacing "hard luck", "divine intervention", "the hand of God" and such.

Osadebe encore

There is always room for one more album by the consistent highlife king, Chief Stephen Osita Osadebe. This one, from 1981, has all the usual ingredients (see older posts, here, here, here and here): something about a social club, including the naming of all the board members, recited steadily by Osadebe, with sung interruptions, spacious spatial guitars occasionally shifting from left to right (and back), the evolution of rhythmic patterns, gradually leading to a trancelike state, a sense of well-being*, perhaps even extasy (try dancing...), followed by blissful satisfaction.
With this in mind it is easy to understand the Chief's smile on the back of the sleeve.

Added bonus on this album is the repetition on the B-side of one of my favourite tracks from his 1970s repertoire. You may remember "Onu Kwulunjo" from "Festac Explosion 77 Vol.2". On that lp the song only lasts 4'31; here it goes on for more than 14 minutes. On the downside I have to add that the sound quality of the earlier lp is significantly better, - and not only as a result of a better state of the vinyl.

Polydor POLP 056



* I was nearly tempted to write "wellness", but luckily managed to control myself... (phew)

Once you have heard one...?

Philips 420011 PE 'Afro Rhythm Parade vol.5'

Twisting

"Darling, if you don't know how to twist, don't feel ashamed. I will explain it to you. This is the moment to start". These lyrics, in french (!!), are on this EP with the surprising title of "Nigeria's Greatest". The artists performing this song with the exciting title of "Cherie Si Tu Ne Sais Pas Twister" are none other than Air Congo Orchestra City Five from Leopoldville, Congo. And if this is the first time you have heard of this ensemble: you're not the only one!

Fortunately, the other three tracks are by Nigerian artists, but - perhaps disappointingly - I have posted these before; all three are on the collection "Nigeria's Request Programme" (also on Philips West African Records).

But there is more 'new' material on this second EP, also released by Philips. And again the title, "Top Hits from Nigeria Vol. 2"* may lead to some confusion, as there is another 'foreign' band on this selection: Negro Jazz Brazzaville. They appear to be accompanied by George Arakpo and His Congo Bell (who are likewise complete strangers to me). This Negro Jazz sings in what is suppose to be spanish, borrowing some lyrics from Dewayon's Conga Jazz ("Eh non non non Mamie"). The result can be described as quite invigorating.

Again, the three remaining tracks are by Nigerian artists. The first is a highlife tune by one of the pillars of Nigerian highlife, Roy Chicago and his Rhythm Dandies, who will the subject of future posts (plural). Then there is a very enjoyable ibo highlife track by another Great, Rex Lawson and his Mayor's Dance Band. Note, by the way, that his nickname on this EP is not "Cardinal", but "Pastor". And finally, there is more twisting, with a second twist (after his "Suzzy Twist" on "Nigeria's Greatest") by King Kennytone and his Western Toppers.

With all this twisting going on, and assuming that all tracks are from roughly the same period, I think it is safe to date these recordings in the first half of the 1960s. The fact that EP's too are a phenomenon from this period, and "Leopoldville" (renamed "Kinshasa" in 1966) in the name of Air Congo City Five seem to confirm this estimate.

If anyone has any more information about the two orchestras from the two Congos, please let us know.

Philips 420026 PE
Philips 420018 PE

*The backside of both sleeves show there is also a volume 1 and a volume 3, and many more marvels still to be (re)discovered.....

Tailwind

If you look at my posts so far, you won't be surprised when I tell you I am not very knowledgeable when it comes to Ghanian highlife. But in this case I guess I am in good company. Because even Akwaboa in his great Highlife Haven blog describes the Kyerematen(g) Stars as "quite unknown".

I gather from other blogs that there may be some religion involved, of the Christian variety. I haven't been able to detect traces of any religion in this album, but this may be due to my complete and utter ignorance of any of the (highly complicated, - so I am told) languages of Ghana.
So my opinion of the lp is solely based on what I can hear. And that is usually a very good measure when evaluating music.

Listening to this lp I am not disappointed. This is - in my opinion - a classic highlife album, and one with a distinct Ghanian touch. I am constantly reminded of John Collin's studies into circular rhythms*. If anyone is looking for examples: this album is full of those!
My favourites of these examples are "Masere M'Ano" and the combined tracks "A.K. Badu" / "D.K. Nyarko". Especially in the last track the effect is almost like cycling with the tailwind pushing you along. The guitars are like the effortless strokes of the feet turning the pedals....

Ambassador LPAM 026

*I will see if I can digitise parts of the 1994 documentary 'African Cross Rhythms' of which you can find an excerpt here at some time in the near future.

Osumenyi

Temperaturewise I don't think it is a good time to post this record, - or at least in this part of the world. This lp is more suited for a sweaty tropical evening, relaxing with friends after a good meal. In the village of Osumenyi, in the Nnewi South region of Anambra State in south-eastern Nigeria, perhaps....

I can just imagine the scene: Chief Stephen Osita Osadebe and his Nigeria Sound Makers International have been invited to entertain at the Freedom Social Club. All the right people are there. Osadebe, himself a native from Anambra State and born in Atani, is politely greeting the functionaries of the club, who in return, at the mention of their name and the recognition of their importance, discreetly - but nevertheless sufficiently open - hand the national artist the equivalent of a month's salary of one of the waiters who are inobtrusively serving the gathered dignitaries. The music is pleasant and all the guests are happy and content.

Later in the evening, there is room for a dance, - a merengue even. Osadebe style, of course. So the ladies can show off their dancing skills without making a fool of themselves. Halfway down the song changes pace, and even the elder members of the club can't help themselves and are bending their knees at the rhythm. Even the royal visitors invited for this special occasion are on the dancefloor now. Osadebe points at the guitarist who carefully guides the by now wildly dancing mass into a state of musical bliss.

Doctor of Hypertension?
Yes.

Polydor POLP 092, 1982

Underpimped

I have been listening a lot to "Sound Time", a CD containing re-mastered masterpieces by the - unfortunately late - consistent highlife king, Chief Stephen Osita Osadebe. And although the collection is recommendable and very enjoyable when travelling to work, I can't help feeling it is also a bit 'overpimped'.

So I have rummaged about in my archives, and have dusted off some more of the (many) lp's I bought at Stern's when they were still a little corner shop in Whitfield Street, and were desperate to get rid of the flood of Osadebe albums clogging their stocks. I was glad to come to the rescue at the time, and actually even regret not buying more.

Here is one from 1982, in an authentic, underpimped state. "Onye Ije Anatago" is one the many albums with just two tracks. Tracks that gradually evolve. A musical voyage with Osadebe as our tour guide, drawing our attention to the sights. My favourite part of this album is the break after 11 minutes on side B, - but not because of the drums, but rather for the almost obvious - but complete - change of rhythm.

There is more to come....

POLP 074

Catchy Rhythms 2

A few days later than I had hoped, here is the second volume of "Catchy Rhythms from Nigeria". Unlike many volume 2's this is at least as good as the first. For one thing, it has two more songs than volume 1. And it has three songs by one of my favourite highlife artists: Victor Olaiya.

And great songs they are too.
You may remember my earlier posts of some tracks of this great Nigerian star (and if you don't, I advise you to make up for this oversight a.s.a.p.). The three tracks on this 10 inch lp are of at least the same quality. My favourite of the three is "Mumude", a near-perfect masterpiece. But "Omolanke" and "Cool Cats' Invitation" are in the same top class of highlife music.

There is lots more to enjoy in this volume. For one there are the Ishie Brothers with two songs (one Ibo and the other Hausa) in a very different, but also superb - guitar, banjo and cigarette tin (!) based - style. Of the remaining five tracks I would like to mention Julius O. Araba, who also featured on the first volume, and Ganiya Kale and his 'Guinea Mambo Orchestra' (love that name) with a track that suggests a connection with apala music. But this may be due to the use of the agidigbo (which was also used in apala music).
And then there is Sammy Akpabot ("well-known from radio and films" - I wouldn't be surprised if this, and this, was the same guy!), whose advice to "save for a rainy day" seems somewhat dated in view of the instability of the present-day banking system.
The two remaining songs are both sung by Joe Nez, "The Voice of Nigeria" according to the informative sleeve notes. Personally I have some doubts about this label; and I will even go as far as stating that the song of Joe and his own Trio (with a piano player who only plays two notes*) is the least interesting of this collection. The one with 'Baby-Face' Paul and his 'Top-Toppers' is enjoyable for the orchestration.

If you start the new year with this album you can't go wrong.

Philips P 13401 R

Happy New Year to you all!

* and you have to listen very hard to hear them.

Catchy Rhythms 1

This record should get you in the right spirit for Christmas. It is the first of two volumes; the second will follow in a few days. This volume features Nigerian highlife legends like Bobby Benson, Steven Amechi (both with two songs) and Julius (J.O.) Araba.

There are only eight songs on this 10 inch lp, but all of these are great. There is plenty of variety too, from the more typical English/pidgin nightclub songs like Bobby Benson's evergreens "Taxi Driver" and "Gentleman Bobby" and the brilliantly dated "Nylon Dress" by Steven Amechi to the more juju-like "Iyawo ma pa mi" performed by Julius Araba and his Rhythm Blues and the dramatic "Ariwo" of Chris Ajilo and his Cubanos.

Personal favourites are the two songs by Steven Amechi and his Empire Rhythm Skies, and especially "Igbo konnga". Great music for winding down and mellowing out to the good-will-to-all-mankind level required for a Happy Christmas.

Philips P 13400 R

PS: the scan of the back of the sleeve is rather poor and illegible. I would be grateful if someone (anyone) could supply us with a better, readable copy.

UPDATE: Jan has sent a very readable scan of the backside of the sleeve. The scan can be found here.

Evil genius

While going through some of the older posts a few days ago I was drawn to an article which was referred to in a comment on a post about Victor Olaiya. The article can be found here (but in case the linked page disappears I have saved the text here). It contains an interview with this highlife legend, who appears* to be (fingers crossed) alive and well.

I am not completely satisfied with his answer to the question how he got his nickname "The Evil Genius of Highlife". Olaiya: "They thought I moved highlife music out of the ordinary. Then, it was believed that my highlfe was a little bit out of this world, beyond explanation. This was why Alhaji Alade Odunewu of the Daily Times styled me the Evil Genius of Highlife."
This may explain the "genius", but not the "evil"...

Maybe the evilness was in his lyrics. Apparently some of his songs dealt with some unpleasant truths. In the interview he cites a song warning against marrying a police woman, which led to him being persecuted by the subjects of the song. I have no idea if other songs by Olaiya caused similar controversy.

An article by Richard Eghaghe from the Nigerian Daily Independent (quoted here) states that Victor Olaiya was the founder of the Cool Cats. This is contradicted by the sleeve notes of the EP I would like to share with you in this post. These name Carl 'Moody' Anifowose as the founder of this band, which Olaiya joined after leaving the Sammy Akpabot Sextet.
It's just a detail, but these details have a tendency to blossom into truths.....

About the music I can be short: it is superb.
The record quality is not so great though. And that's why I am adding a single from a later date, by Victor Olaiya and his All Stars.

As with the older Cool Cats record, the All Stars songs are deliciously laid-back, and very recognisably 'Olaiya'. I just love the instrumental bits in these songs, after 1'40 in "Lekeleke" and after 1'29 on "Aiye Soro". They are evidence of true genius, - evil or not...

Philips 420001 PE 'Afro Rhythm Parade vol.2' (ep)
Philips West African 303.016 PF (single)

* I have discovered nothing to indicate that he is not alive...

O.D.

I am not on holiday. I've been busy with other matters and have had little time for pleasurable activities, - like sharing great music with you. Hopefully the quality of the next few posts will compensate for the -perhaps disappointing- quantity.

This record is a bit of mystery to me. I copied it from someone who bought the record in Ghana in the 1970s. Like Akwaboa at Highlife Haven I love the "I've found my love" CD on Original Music label. On this CD S.K. Oppong, who is the subject of this post, has three tracks. The tracks are similar to those, and also different.

As I have mentioned before, I have only a very limited knowledge of highlife music. And I can find surprisingly little information about S.K. Oppong on the internet. Surprisingly, because he was a popular actor on Ghana Television (GTV). The Oppong Drama Group of which he was the leader changed its name to "Osofo Dadzie Group". The Osofo Dadzie series apparently achieved cult status. When it comes to his musical achievements I have little or nothing to go on. It is clear he had a background in the concert parties (like E.K. Nyame) and that his music is in the palm-wine guitar band style.

And that's where the tracks on this lp are similar to those of "I've found my love". The difference is in the sound. This "Akwankwaa Hiani" album, released on the Ambassador label, has a more fresh, acoustical sound. I am guessing guitar highlife went through an acoustical stage in the seventies.
It's a great sound, and together with the seemingly casual but complex vocals it's what makes this record into an evergreen.

Ambassador LPAM 015

PS: S.K. Oppong died on December 3, 2001 (according to this).

E.K.'s No.1 Band

"E.K. Nyame was born in 1927 in Ghana. He revolutionised West African music in the 1950s, as he not only updated the Highlife music of the Palm-Wine groups, but also combined it with the acting of the local concert groups" (John Collins, African Pop Roots, The Inside Rhythms of Africa, 1985).

This may still sound a bit vague, but I gather that E.K. Nyame played a major part in getting rid of western ballroom music (foxtrot, quickstep, waltz etc.) in concert parties and gradually replacing it with highlife music based on the guitar music of the palm-wine bars. He also slowly introduced more Twi into the shows.

It is not surprising that he became Kwame Nkrumah's favourite musician. E.K. in turn supported Nkrumah in songs and plays. He told John Collins he had composed 40 songs in praise of Nkrumah. With the decline of Nkrumah's rule in the 1960s, E.K.'s songs were used by the opposition.
E.K. Nyame died in 1977.

Here are two singles, released in the Philips label, of E.K.'s No.1 Band. I'm not sure if this means there was also a No.2 Band (there ís a K.K.'s No.2 Band, but I think they are from a later date). But I prefer to think this was meant as a qualification or ranking....

Philips PF 383571
Philips PF 382418

Paul Ede

He is originally from Bendel State (since 1991 Edo State), and one the pioneers of the guitar highlife music in Nigeria. That's about all I can tell you about Paul Ede.

I posted one song by this star from the past in an earlier post (track A2). And here are ten more.

Mr. Ede presents himself on the record sleeve as a family man (although he appears intelligent enough not to let the little ones play with his best guitars...). His music leaves mixed messages: I can imagine myself both in a religious setting, in the comfort of my own home and in a bar, drinking palm wine and surrounded by loose women.
Once more, I can't help feeling handicapped by not understanding a word of Yoruba (and I can't even tell you if he is singing in this language).

What I really like about Mr. Ede and his group is the casual atmosphere his music creates. But like any art form, when it sounds/looks casual and simple that's when you are dealing with real genius. Paul Ede's casualness too hides decades of experience and an incredible skill.

FTLP 156

PS: For expertise on Nigerian music I gladly refer you to the Likembe and With Comb & Razor blogs.

Black stars and comets

Continuing the singles posts, here are two from Ghana.

Now, as I've indicated before, I am no expert on highlife music. So I am hoping you can help me out with this first one. I have very little information about the artist of this wonderful single about the "Ghana Black Star Line". He is called B.B. Ossei, and I strongly suspect he was at one point in charge of the Noble Kings. I love these sung adverts, and listening to the sad commercials of today I sometimes wish we could go back to this format. The A-side of the record contains a highlife version and the B-side a lovely calypso version. It's hard to say which version I prefer, - they're both great.

Ambassador BSL 100

There is more information about the artist of the second single. When I write "more", I mean the same information can be found on a lot of sites... Apparently some members from the later crossover band Osibisa were involved in the early 1960s with this orchestra, The Comets. "Mac Tontoh's first band, known as "The Comets", was based in Kumasi and led by his elder brother Teddy Osei (who he later collaborated with in Osibisa). The Comets cut their teeth playing in Kumasi clubs such as The Jamboree, Kismet and Hotel de Kingsway. They became very popular in Ghana and Nigeria during the early 1960s for highlife and jazz, and Mac soon emerged as one of the leading and most progressive Ghanaian hornsmen, fusing the modern jazz styles of trumpeters such as Miles Davis and Clifford Brown with West African highlife." (The quote is from this site, but is repeated in various variations by others). Apparantly this orchestra was founded in 1959 by Teddy Osei, who in 1962 moved to the UK. I've read somewhere* about a link with the Stargazers Band, and listening to the music this doesn't surprise me. Both tracks are labeled as "Osibi (highlife)", which may explain the name of their later band(?).

Philips-West African-Records PF 325

*but I've forgotten where

Sikyi

I am informed that one of the great experts on highlife music, John Collins, will be visiting this country (the Netherlands) this week to present his new book "Fela, Kalakuta Notes". I am not going to write about this book, or about Fela.

I don't consider myself an expert on highlife music, and there are other blogs that can give you far better information about this great African music (Akwaboa, of course, at Highlife Haven, John at Likembe, and at Comb & Razor blog).
I am just using this as an excuse to post this, in my opinion absolutely essential, highlife lp from 1974. No collection should be without this classic by Dr. K. Gyasi and his Noble Kings. What's surprising to me is the full sound, with only ten musicians. Eric Agyemang excels, rewriting the book about the role of the lead guitar. But the same goes for the rest of the orchestra. I would like to mention the bass player, Ralph Karikari, Thomas Frimpong on drums and vocals, and the whole of the (four strong)percussion section.

To me the part where the shivers start running down my back is the beginning of the B-side, and to be more precise the bit when the horn section joins the party. It never fails to get me right where it counts.....

Essiebons EBL 6117