Wednesday, September 7, 2011

l'ANPAC Presente Vol. 3




Some sweet sounds conclude our presentation of the three-volume series l'ANPAC Presente with Volume 3 (AN 400 3, 1984). Like musicians on Volumes One and Two, Pierre Claver Zeng Ebome, who performs "Eyala," has been active in Gabonese politics for many years, holding various posts in the government of President Omar Bongo as well as being elected to Parliament. Norbert Epandja, who gives us the lovely "N'oublie Jamais," has been involved in politics of a different sort, as president of the Musicians' Union of Gabon. I can tell you nothing about the other talented musicians here. Enjoy l'ANPAC Presente Vol. 3!






Download l'ANPAC Presente Vol. 3 as a zipped file here.

Sunday, September 4, 2011

l'ANPAC Presente Vol. 2




Back in the '80s the three volume collection of Gabonese music l'ANPAC Presente was frequently on our turntable and, dubbed onto C90 cassettes, our auto sound system. Continuing Likembe's presentation of this interesting series, l'ANPAC Presente Vol. 2 (ANPAC AN 400 2, 1984) features a couple of songs that are among our all-time favorites.

Mack Joss is the only musician here known to me, and all I can tell you is that he's been on the Gabonese music scene for a while - at least since the 1970s. "Mounombi" here is a really nice adaptation of Gabonese folklore, as is "Motobetheyi," performed by Pierre Emboni, who in addition to his musical efforts, was a leader of one of Gabon's political parties and Minister of Youth and Sports in the late '90s. "Souviens Toi" by Yvon Dawens is a nice song in the Congo-Cameroun musical continuum, but the real standout of this LP is Obiang Okane's "Dokira," which incorporates the mvet, a traditional musical instrument of the Fang people of Gabon, Equatorial Guinea and southern Cameroun. I hope you'll enjoy l'ANPAC Presente Vol. 2 as much as I do:





Download l'ANPAC Presente Vol. 2 as a zipped file here. For those interested in learning more about the mvet, featured in "Dokira," I would recommend Francis Bebey's magisterial African Music: A People's Art (Lawrence Hill & Co., 1975), and also the LP Gabon: Chantres du Quotidien/Chantres de l'Epopee (Ocora 558 515, 1981). The mvet plays a role in traditional Fang society very similar to that of the kora among the Mandinka peoples of West Africa, as an accompaniment to epic ballads, the performance of which is said to last all night. From Gabon: Chantres du Quotidien/Chantres de l'Epopee, here is an extract from one of those performances, performed by Akwé Obiang (pictured below):




Friday, September 2, 2011

l'ANPAC Presente: Vol. 1




The small country of Gabon has never loomed large in the African music scene, although artists like Pierre Akendengue and Oliver N'goma have certainly made their mark. Back in the 1980s, though, the Libreville radio station Africa No. 1 and its powerful signal ruled the African airwaves, and along with Gabon's first modern recording studio, Mademba, founded around the same time, brought increased attention to musicians from the country.

Africa No. 1 was the inspiration of Gabonese President-for-life Omar Bongo, who apparently sought to use his country's oil wealth to raise its prestige in the world. Another Bongo initiative, l'Agence National de Promotion Artistique et Culturelle (ANPAC), in 1984 issued a three-volume series of recordings, l'ANPAC Presente, showcasing a number of popular musicians of the decade.

I can't tell you much about the musicians on Vol. 1 (ANPAC AN 400 1), presented here, or on Vols. 2 and 3, which will follow shortly. Hilarion Nguema, the best known of these, founded Orchestre Afro-Success in the early '80s and scored a number of hits, notably 1988's Crise Economique. The Wikipedia entry for Jean-Boniface Assélé describes a politician and brother-in-law of Omar Bongo, but makes no mention of a musical career, which leads me to question if they are indeed the same person (see update below). The other artists draw a complete blank on Google.

I think you will agree with me that these mellow sounds have congruences with the music of Congo and Cameroun, with some unique local touches. Enjoy!




Download l'ANPAC Presente Vol. 1 as a zipped file here. There's an interesting coda to the story of Africa No. 1. The radio station left the airwaves for a number of weeks earlier this year, apparently a result of the political crisis and civil war in Libya. Libyan Jamahiriya Broadcasting was a 52% shareholder, and when Libya's assets were frozen, the station was unable to pay its bills. You can read the story here and here.

My apologies for Likembe's three-month hiatus, by the way. A lot of personal issues intervened, but I hope to keep things going on a more regular basis from now on.

Update: Thanks to commenter Peter for confirming that the Jean-Boniface Assélé of this LP and the one described in Wikipedia are indeed one and the same.

Monday, May 30, 2011

Congo Memories with Bumba Massa




Best-known for his work with the super-group Kékélé and last year's release Apostolo, the honey-voiced Bumba Massa is one of the great unsung heroes of '80s Congo/Zaïre music. Born in Kinshasa in 1945, in 1963 he founded Orchestre Cubana Jazz with Empopo Loway and Siongo Bavon Marie-Marie, the younger brother of Luambo Makiadi Franco. He then progressed to work alongside Johnny Bokelo in Conga '68 and with Vicky Longomba in Lovy du Zaïre, before joining Franco's TPOK Jazz in 1976.

Bumba Massa launched his career as a solo artist in 1978 with a tour of West Africa, ending with the release in 1981 of Gare à Toi Mon Ami in Ivory Coast. Despite a number of outstanding releases like l'Argent et la Femme and Dovi in subequent years, Massa was unable to really "break through" on the international scene (l'Argent et la Femme did receive some limited distribution by Brooklyn's African Record Centre) until 2001, when Kékélé's first recording Rumba Congo (Sterns STCD 1093) brought the sounds of classic Congo music to a new generation.



Listen to Bumba Massa's brilliant 1983 outing Dovi (Syllart SYL 8306) and understand why I consider the 1980s the last "Golden Age" of Congolese music. Recorded in Paris under the direction of the great producer Ibrahima Sylla, and with the participation of outstanding sidemen like Pablo Lubadika Porthos and Syran Mbenza, it stands as a pinnacle of the sound: smooth, seemingly effortless and sublime. If you like this one, in the future I will post 1982's l'Argent et la Femme, which is almost as good.





Download Dovi as a zipped file here.



Sunday, April 17, 2011

Happier Days




Back with a reminder of much, much happier days in Somalia, our good friend Sanaag passes on almost 80 minutes worth of music by the legendary Afro-funk band Dur Dur, who were among the most popular groups in Mogadishu back in the '80s. You may remember them from this post, and this one. I understand that after the collapse of Somalia in 1991, vocalist Sahra Dawo and other "newer" members of the group relocated to Columbus, Ohio, USA, where they have a presence on Facebook. Sanaag reports that the other members of the "old guard" featured here are scattered all over the world, except Muktar "Idi" Ramadan who unfortunately passed away a few months ago in Saudi Arabia.

As usual for Somali recordings of this vintage, the audio quality of these songs is not up to modern standards, but I'm sure you'll agree that their musical and historical qualities more than compensate. Here's what Sanaag has to say about them:
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Durdur's songs are almost always drenched in love. To the best of my knowledge, they didn't address social or political issues during the military dictatorship and that's why their lyrics didn't make a lasting impression on me or flare up my interest in the band; hence my sketchy knowledge about their work and background. I was really delighted with the post-Siad Barre cassette Andreas posted at Kezira, in which they've several socially engaged tracks.

These songs are mainly in southern vernacular languages. I hail from about 1100 kms further up North and, though I understand the basics fairly well, I don't have the required baggage to fathom the linguistic and literary subtleties inherent to these dialects. Neither can I contextualize the songs since I don't know if, as was common during the military dictatorship, some of the songs were meant as protest double entendres, were adopted as such by the general public, if events were associated with them etc. That's why I'd rather not venture into summarizing, let alone publicly interpreting, the lyrics. Nevertheless, all the songs are conspicuously about love and I've tried to translate the tracktitles. Corrections are, of course, most welcome!

The following six songs are from the soundtrack of "Rafaad iyo Raaxo" ("Misfortune and Comfort"), a 1986 tragicomedy that was also filmed a couple of years later. "Duruuf Maa Laygu Diidee" means "Rejected Due to My Circumstances." The vocals are by Muktar "Idi" Ramadan:


In this song vocalist Shimaali Axmed Shimaali pleads, "Oh, Saafi! I Won't let You Go" (Saafi is a female name):


"Waanada Waxtarkayga Waaye" means "This Advice Does me Good/I'm Well Advised." Vocals by Cabdullaahi Shariif Baastow & Maryan Naasir:


"Muraadkay Waa Hellee" means "We've Reached Our Goal." Vocals by Muktar "Idi" Ramadan & Sahra Dawo:


"Ma Hurdee" ("I Can't Sleep"). Vocals by Sahra Dawo & Muktar "Idi" Ramadan:


"Rafaad iyo Raaxo" ("Misfortune & Comfort"). Vocals by Sahra Dawo & Muktar "Idi"Ramadan:


These next songs are from two tapes without album or song titles. The track names are thus the popular titles under which the songs were dubbed by the public (see the post on Iftin). "Waxan Sugi Ma Helayaa?" ("Shall I Get What I'm Waiting For?") is also known as "Saqda Dhexe Riyadiyo Sariir Maran" ("Midnight Dream in an Empty Bed"). Vocals by Sahra Dawo:


"Shaacaan Ka Qaadaa" ("I'm Revealing all of it") is also known as "Shallay Ma Roonee" ("Remorse Is Pointless"). Vocals by Sahra Dawo & Cabdullaahi Shariif Baastow:

Dur Dur - Shaacaan Ka Qaadaa

"Rag Kaleeto Maa Kuu Riyaaqayee?" ("Are Other Men Admiring You?"), aka "Reerkaagaa Joogee" ("Stay With Your Family"). Vocals by Cabdullaahi Shariif Baastow:

Dur Dur - Rag Kaleeto Maa Kuu Riyaaqayee?

Cilmi Ismaaciil Liibaan (better known as Boodhari) is the main protagonist in a true love story that took place in in the 1930s in Berbera, a town in the current Somaliland. He was in his thirties when he fell head over heels in love with Hodon, a teenage girl whose parents were opposed to a relationship between the two due to the difference in age and social class; he worked in a bakery and she belonged to one of the richest families in the area. Hugely burdened and dismayed by the unrequited love, Boodhari composed numerous poems and songs about this forbidden love. Hodon eventually got married to another man and, though this is not corroborated by watertight evidence, Boodhari became so disconsolate that he finally committed suicide. It's not established beyond doubt that all the poems and songs attributed to Boodhari were indeed written by him, but his legend and compositions have certainly been part and parcel of Somali love stories ever since. The song "Boodhari Sidiisii" ("In Boodhari's Footsteps") is also known as "Maruun ii Bishaarey!" ("Surprise Me Once With Good News!"). The vocals are by Cabdullaahi Shariif Baastow:


"Doobnimaadey Maka Dogoownee" ("Getting Old Single") is also known as "Dersi Anaa Lahaa" ("I Need A Lesson [In Love]"). Vocals by Sahra Dawo:

Dur Dur - Doobnimaadey Maka Dogoownee

"Oh, Angelic Beauty!" Vocals by Cabdullaahi Shariif Baastow:


The title of this song means "A Joking Madman." Vocals by Cabdullaahi Shariif Baastow & Sahra Dawo:


"Waxla Aaminaan Jirin" ("Nobody To Confide In/NothingTo Trust"), aka "Is Yeelyeel" ("Simulation, Pretense"). Vocals by Sahra Dawo:


Download these songs as a zipped file here.


Wednesday, April 13, 2011

Lapiro de Mbanga Freed!




By way of Makossa Original and Freemuse we receive the happy news that Camerounian musician Lapiro de Mbanga was freed April 8 after three years of harsh imprisonment.

Lapiro was arrested following riots in 2008 against the high cost of living and constitutional changes that made Cameroun's kleptocratic president Paul Biya eligible to run for re-election indefinitely. He ran unsuccessfully in local elections on the opposition Social Democratic Front slate in 2006 but the precipitating event for his arrest and sentence seems to have been his song "Constitution Constipeé," a critique of the Biya regime that became the unofficial anthem of the protests.

The past three years have seen an international campaign on behalf of Lapiro, which apparently fell on deaf ears. He served every day of his sentence.

Join me in celebrating the release of Lapiro De Mbanga with his wonderful album Ndinga Man (Energy Productions NE 5003), which was released in the late '80s:





Download Ndinga Man as a zipped file here, and enjoy this video, "Everybody to Kondengui Prison," about which Dibussi Tande says, ". . .In this fiery and no-holds-barred song released last year [2007], Lapiro lashes out against the symbols of decay in today's Cameroun: A regime in power which has turned its back on all the nationalist slogans of the early years; generalized corruption that has affected every stratum of society ; an insolent and arrogant ruling elite brazenly parading symbols of ostentatious consumption (vulgar SUVs out of place on Cameroon's roads, huge castles amidst appalling squalor, some shown in the video). . .":


Monday, February 14, 2011

African Divas Vol. 4




Once again I'm forced to apologize for the infrequency of my posts lately. As usual, I have several projects in the hopper, but all kinds of personal business has intervened to prevent me from finishing them.

Fortunately, what should come over the transom but a fine new compilation by our friend Ken Abrams, who was responsible for a couple of installments in the fondly remembered African Serenades series a few years back. Ken calls this collection of tracks by female artists "African Woman is Boss" (a play on a calypso, "Woman is Boss") but with his permission I'm rechristening it African Divas Vol. 4, since I've been wanting to put together another installment in that series for some time.

Mostly off the World Music™ radar, these chanteuses are testimony to the talent and artistry of Africa's female singers. Enjoy!

1. Deka - Ade Liz (Cote d'Ivoire)
2. Fide (Le Repos) - N. Lauretta (Cameroun)
3. Mumi We Njo - Cella Stella (Benin)
4. Je Caime Larsey - Lady Talata (Ghana)
5. Oa - Betuel Enola (Cameroun)
6. Time - Sissy Dipoko (Cameroun)
7. Shameributi - Oyana Efiem Pelagie & Soukous Stars (Gabon)
8. Komeka Te - Pembey Sheiro (Congo)
9. Mu Mengu - Itsiembu-y-Mbin (Cameroun)
10. Mbo Ya? - Lolo (Cameroun)
11. Gbaunkalay - Afro National (Sierra Leone)
12. Gnon Sanhon - Rose Ba (Togo)
13. Djombo - Hadja Soumano (Mali)
14. Kanyama - Amayenge (Zambia)
15. Mesa Ko Noviwo O - Okyeame Kwame Bediako & his Messengers (Ghana)
16. Mede Yta - Yta Jourias (Togo)
17. Play Play - Wulomei (Ghana)
Download African Divas Vol 4 here (and you can get Vol. 1 here, Vol. 2 here, and Vol. 3 here). Be advised also that in addition to his musical interests, Ken Abrams is a talented artist. Check out his work here.

Sunday, January 2, 2011

More From the Ministry of Information and National Guidance




Note: This post was updated with better-quality rips of the original vinyl on July 26, 2012.

Our good friend Sanaag comes through once again with Famous Songs: Hits of the New Era (Radio Mogadishu SBSLP-102, 1973), Volume Three in the series that began with Somalia Sings Songs of the New Era, one of Likembe's most popular recent posts.

These records were issued under the aegis of the Somali Ministry of Information and National Guidance to rally support for the military government of Mohammad Siad Barre, which in the early '70s had "socialist" pretensions. For all their propagandistic aspects, it would be a mistake to dismiss their musical qualities. Waaberi, the Somali super-group featured on Somalia Sings and Famous Songs, pre-dated the 1969 military coup and was a training ground for many great singers, including Xaliimo Khaliif Magool, Maryam Mursal and Sahra Axmed. Moreover, some of Somalia's greatest poets and songwriters, in a burst of revolutionary enthusiasm, contributed to this project. Like Somalia's "revolutionary socialism," this support was destined not to last.

By the way, diligent readers/listeners may be interested in this blog post (also brought to my attention by Sanaag). As far as I can understand what this fellow is trying to say, he's drawing a parallel between Siad Barre's dictatorship in Somalia and the current U.S. Administration. Or something like that. Although his logic seems a little convoluted to me, I'm glad he appreciates what we're offering here at Likembe.

Heres is Sanaag's take on Famous Songs: Hits of the New Era:

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A couple of the songs are in the same vein as in Somalia Sings Songs of the New Era but there are notable differences. I'll try to provide some context while commenting on the tracks.

"Aabbe Siyaad" ("Father Siyaad") is sung by Ubaxa Kacaanka ("The Revolutionary Flowers"), destitute and often orphaned children raised in government-sponsored centres. In this song, they are deploring the hardships they and the whole nation had to endure before that period. They're also expressing their gratitude and loyalty to their adoptive father, i.e. Siad Barre, for the "striking structural changes overall" and particularly for "the light he brought into their lives". Although caring for these children was an excellent deed, the flipside of the medal was that they were horribly indoctrinated to the extent that some eventually had to spy on their families and friends. I'm not familiar with composer Cabdikariin Faarax and I couldn't find anything about him.

Waaberi & Ubaxa Kacaanka - Aabbe Siyaad

"Itaageer Allahayow" ("God, Stand by Me!"): Composer Maxamed Cali Kaariye (left) was a fertile songwriter and playwright. He's arguably the king of the love genre of his generation. In this track, he's exhibiting his admiration for the initial achievements of the military regime while putting the emphasis on the necessity for each Somali to support the revolution by contributing his/her best to the development of the whole society. In short: One for all, all for one and god/the revolution for us all. N.B. The title is probably wrongly printed. "Itaageer Allahayow" was another love hit from the same period sung by Mooge. If my memory doesn't fail me, this track is called "U Bogaadinee Allhayow!" ("By God, We Congratulate Them!").

Waaberi & Students - Itaageer Allahayow

"Magac U Yaal" ("Pronoun"): The composer is Maxamud Cabdullahi Ciise ("Sangub," right) who, despite his immense contribution to Somalia's contemporary poetry and prose, fell from popular grace by allegedly supporting the dictatorship till the bitter end. The track is dealing with the widespread joy that came with the official standardization of the Somali language in 1972. Somali is an agglutinative language with a rather complex grammar.This song introduces a number of ingenious and dexterous tricks to the trade of remembering and applying the new grammatical rules correctly.
Prior to the formalization, a score of scripts existed for the language - some for centuries. The discussions, overheated debates and tug-of-wars around this issue started in the late 19th century but couldn't materialize because of differences in interest and allegiance. For practical convenience, an 'independent' advisory committee set up right after the independence finally chose one of the Latin-based alphabets. That decree didn't go down well with some of the supporters of the original Somali scripts or Arabic-based alphabets. The ensuing conflict had eventually led to the imprisonment of some cacophonous antagonists, who were supposedly offered to set an example for any prospective dissonance:


"Tolweynaha Hantiwadaagga Ah" ("The Socialist Community") is in spirit comparable to "The Internationale" and calls for justice and equality by and for all humans, as well as solidarity among the working classes.

I couldn't find when exactly the song was written but I believe it predates the coup d'état of 1969. The composer, Abdi Muhumud Amin (left), was a genuine socialist and a quintessential patriot who firmly believed that the Government should use its authority and resources justly, and primarily to empower the poor, the powerless and the voiceless silent majority. In addition to the general indignation towards the egregious crimes committed by the regime, his longstanding personal commitment to high morality was probably why he was extremely offended by Siad Barre. The latter abused socialism and other ideologies merely to deceitfully contrast himself with the preceding corrupt and loathed authorities, therefore hoping to bolster his power base.

Under the illusion that Barre and his minions embraced socialism, Abdi initially composed revolutionary songs for which he later publicly apologized and even nullified by composing new songs with exactly the opposite meaning. For example, "Caynaanka Hay" ("Hold the Bridle/Lead Us") on the album you've already posted became "Caynaanka Daa" ("Let the Bridle Go/Resign"). His scorching criticism of the system and personal attacks on Barre became subsequently legendary material. It culminated in the staging of his play "Muufo mise Laankruusar" ("Dry Bread versus Landcruisers") opposing goatee-sporting, Gucci-dressed and SUV-driving elites to the common man and woman, some of whom couldn't even afford a dry bread. It's widely believed this was one of the plays that incited the people to rise up against the tyranny, hence precipitating the downfall of the dictatorship. It would amount to a miracle if this drama was approved by the omnipresent Censorship Board. It's more plausible the artists circumvented the long claws of the bureaucratic red tape by presenting a different play or programme for the customary preemptive inspections.

The play premiered on 1st May 1979, in the presence of the plenary upper echelons of the government and the top brass of the army. As the theme of the production was crystal clear right from the very first sentences, some of the disconcerted and vexed all-loyalist spectators jumped up immediately to interrupt the performance. It's alleged that the splendid conductor Barre faced the audience and mockingly rebutted with: "Let them have their moment of glory and make us laugh. Nobody here agrees with them, anyway, and we shouldn't spoil this festive Labour Day". Maestro, let the festivities begin! Or not? Well, Barre's honourable admonition and solemn vow, for which he's rewarded with the single standing ovation of that fateful night, vanished like vapour. Abdi and most of the artists were arrested on the stage (long) before the curtains fell. The celebration was thus metamorphosed into a tragedy, with a brilliant final chord: An original method to preserve a night for the posterity saw the daylight! (Note: See update below).


"Beletweyne Pts 1 & 2": This is an epic about a love at first sight. The singer catches a glimpse of a stunning beauty queen in Beletweyne, a city in south-central Somalia. It was during a short working visit "in the prosperous, blithe, rapturous, golden days" and he instantly falls in love with her. Their paths cross each other once more and they exchange very brief but amorously charged amenities. Unfortunately, the "cursed, insensitive leader of the group" decides they'd be leaving on the very same day and his appeals and pretexts were not heeded. The story ends dramatically as our Cupido's profound yearnings remained (involuntarily) unrequited. In fact, he never sets eyes on the obscure object of his desires again and he's still looking for his Beerlula (a nickname meaning "bellydancer", symbol of freedom and freedom of expression). He "now realizes, like Boodhari (Somalia's Romeo) did ages ago, that love can be an incurable disease, a dagger in your heart and liver, a reason to commit suicide. . ."

As of mid-70s, a growing number of observers interpreted it as a depiction of the various stages of the military dictatorship - from the initial immediate infatuation, through the subsequent intense disappointment to the prediction of the final demise of the crown and the current on-going disaster. That's why it's branded with the ominous term "kacaandiid" (anti-revolutionary) and was banned from the airwaves. Ironically, the roots of this ill-chosen compound word is "kacis" (to rise up) and "diidis" (to reject). As people and language are both endowed with the capacity to remember and retaliate, it's thus only a matter of happy coincidence that those frequent prohibitions consequently and justly abetted the public appetite to rebel and to shower the forbidden fruits with more (underground) exposure and accolades. "Beletweyne" was indeed the most played song in the whole decade. It's banned from the official channels but the volume surged up in homes, cafes, buses, street corners etc. If they wanted to arrest everyone who defied the ban, they would have been obliged to transform all government offices into prisons:

Waaberi & Xasan Aadan Samatar - Beletweyne Pt. 1

Waaberi & Xasan Aadan Samatar - Beletweyne Pt. 2


As far as I know, Maxamed Ibraahim Warsamehe ("Hadraawi," left), composer of "Beletweyne," one the most famous and highly esteemed living poets and playwrights in Somalia, declined all requests to provide footnotes as to to the whys and hows behind the lyrics. However, he's well known for his vehement and unremitting protest against the dictatorship. He even passed more than a decade behind bars and in exile, including five years in solitary confinement in the notorious Qansax Dheere - Somalia's "Robben Island" where many dissidents were incarcerated. He left the country a few years after his release to join the Somali National Movement (SNM), the front that defeated Barre's army in the current secessionist Somaliland. He's nonetheless against the dismemberment of the country and didn't take part in any of the post-Barre political factions. Instead, he undertook many activities stressing the importance of unity and rule of law. For example, he organized an arduous "Long March for Peace" together with other bardic heavyweights belonging to all clans and regions who were joined along the way by an ever-growing number of citizens. They categorically declined to be protected by body guards, and that was tantamount to risking their lives in the face of the pervasive and undiscriminating war. Their premonition that peace couldn't strut with weapons paid off well. In (almost) all the districts they visited, the guns were briefly silenced and the marchers were welcomed with an overwhelming warmth and hospitality, as if they were long lost friends and relatives. A Somali proverb goes "Gabayaa geyi waa gubi karaa. Abwaan asay waa aasi karaa" ("A poet can set a land on fire. A poet can put an end to the mourning!") More on Hadraawi here.

Waaberi - Tolweynaha Hantiwadaagga Ah (Reprise)

Download Famous Songs: Hits of the New Era as a zipped file here. For more music like this, two songs from Volume Two in this series are available here.

Update: Sanaag writes, "Thanks to Baraxow who contacted me after this entry was posted. According to him, the play was staged again in the late 80s, at the sunset of Siad Barre's regime. It started with the following short poem, spoken in choir while pointing fingers at Siad Barre and the rest of the bigwigs:

Dalkan dadkiisii baannahayoo
Muufo maraqle baan dalbanaynaa
Laankruusarkiinna waan diidnayoo
Dacalladaan ka dalandalin doonnaa

Annagu weli* muufaan rabnaa
Muufo macaan baan rabnaa
Maraqaan ku dhuuqnaan rabnaa
Markan maqaloo yeelo miyir waasacan


We're the people of this land
We demand dry bread with sauce/soup
We reject/resent your Landcruisers
We'll throw them down a steep cliff

We still demand dry bread (or we demand dry bread from the saint)*
We demand delicious dry bread
We demand sauce/soup to imbibe/imbue it with
Listen this time and be wise and just
* The Somali word "weli" means both still and saint, a derogatory epithet for the big sinner/human rights violator Siad Barre.

Update 2: An interesting commentary on this post here.

Update 3: Liner notes available below (click to enlarge). Sanaag writes, ". . .
The sleeve notes are a real gem. Just like those on the other record, they are manipulated to say what the dictatorship wants to hear and not necessarily what the artists say in the songs. In popular speech and folktales, Siad Barre's leading ideologues are called Askar (Somali for non-commissioned officers or colnoial soldiers) and they prove that majestically. The basic tenets of (Somali) culture and socialism were apparently rocket science to those so-called intellectuals and culture connoisseurs. Even the Internationale was alien to Siad's finest "socialist" experts! Hilarious! It's reminiscent of Nuruddin Farah's trilogy 'Variations on the Theme of an African Dictatorship. . .'"



Wednesday, December 29, 2010

An Igbo Minstrel




There is a parallel universe of popular music in Nigeria that exists mostly unknown to the international audience that listens to Fela, King Sunny Ade and other World Music™ icons. It consists of the innumerable amateur and semi-professional musicians and performing troupes who contribute so much to the richness of village and neighborhood life. While most of these artists remain unheralded outside of their own localities, enough have been recorded that traditional, or "Native Blues" music is a significant part of the Nigerian music industry.

One such artist is the legendary Igbo musician Chief Akunwafor Ezigbo Obiligbo, who was born on August 10, 1904 in the city of Nteje near Onitsha in eastern Nigeria. He apparently died sometime in the '80s. Some years ago a friend of mine loaned me one of his LPs, which I dubbed to a 10" tape reel. Unfortunately, the record had a bad warp, and the first tracks on Side 1 and 2 were unplayable. As best I can remember (the written notations I made have been lost) the album was entitled Egwu Ogbada and was on the Melody label.

So that's where things stood until a few years ago, when I was able to digitize Egwu Ogbada and a number of other recordings. Obiligbo's music lay further neglected on my hard drive until a few months ago when my friend Ed Keazor posted a very interesting write-up about the great artiste on his Facebook page. It occurred to me that Ed could not only identify the tracks, but provide first-hand insight into their meaning and context for Likembe readers and listeners. Here are his thoughts:
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For those who are unaware, Akunwafor Ezigbo Obiligbo was a famous minstrel (Akunwafor being his traditional Ozo title) whose career spanned the period 1940 till his death in the early 80's. Obiligbo was a master lyricist, composer, poet and exponent of the Ekpili style and master of the native thumb piano (ubo) similar to the mbira of Southern Africa, but marginally different in the flat tapered metal key arrangements and the variations in size from smaller sized version to the larger varieties used by more contemporary performers like the popular transvestite performer Area Scatter.



Ekpili was a style peculiar to the riverine area of Anambra state such as Onitsha, Nsugbe, Nteje, Umuleri, Aguleri etc. The musicians often played alone, singing along central themes of morality, praise singing, sorrow and pain- essentially reflecting the society's heartfelt thoughts. The bigger players often had a native orchestra of sorts with the native maracas, ekwe (gong) and udu (bass claypot) and backing vocals as components. Sometimes for funerals or coronations (ofala) they would add the native drums igba, which were usually employed as part of a distinct style of same name (Igba), which differed to the extent of having the oja (as the lead vocal instrument and voice as chorus). One key element of Obiligbo's Ekpili is the almost ethereal use of the backing vocals as a form of musical instrument either in bass format or even as percussion.

The main difference between Obiligbo's and Area Scatter's music was that the latter was from Owerri area, hence his style was not Ekpili. His singing style was also a faster and more syncopated, rather than melodic, style akin to Igede. His ubo playing style was very similar, however, to up-tempo Ekpili. The simple answer is that the differences were very subtle, being more based on the structural differences inherent in the dialect of the Anambra riverine area and the faster-paced Imo based dialects, which then translated into differences in the musical output.

While he was one of many native musicians, Obiligbo very quickly gained popularity via a thriving local fan-base, performing at funerals, weddings and other traditional ceremonies in and around Nsugbe. His fame grew exponentially, driven by his powerful lyrics - steeped deeply in native idiom and with hugely thought-provoking lyrics - with a fair dash of praise-singing to boot.

Obiligbo left a huge body of work, mostly in the gramophone record format, but many of his greatest works have been preserved, especially those recorded in the pioneering Nigerphone Recording Studios at Onitsha. Owned by the famous Igbo businessmen of the early 20th century, T.C. Onyekwelu, it was the most advanced (if not the only) facility available in the East of Nigeria at the time (the 30’s-50’s) and was the forebear of subsequent recording studios/companies like Rogers All Stars and Tabansi Records. The tracks were subsequently released by Onyekwelu's employee Chief Melody Okpelo through his Melody Record Company.

"Nteje Enyi No Bianya" is a mid tempo easy-listening track. It praises Obiligbo's home-town Nteje and his kinsmen, with names like Emeka Enyiogugu, Chima Mgbogu, Mayor Udenka, Apaka Udealor, Sunday Okeagu, Nweke Ijego, and ends in praise of himself - "Ezigbo Obiligbo Nwa Nteje":


"Odogwu Umuleri" is basically a story (not sure if idiomatic or factual) about Odogwu, a native of Umuleri (Anambra State, Nigeria) who impregnates his mother in furtherance of a money-making ritual. It is a mid-tempo track starting with the standard call and response chorus and quickening into a feverish up-tempo Igba.

Opening: "Ogbondu na ekwu ndi ogbu, Orimili na ekwu ndi oli" ("The waters always reveal who they have consumed") "Odogwu ebulu afo ime ya na aro ato." Chorus: "Oro Misita Odogwu [note the corrupted use of the English title "Mister," used clearly here in derogatory terms] Ewe puta ofu mbosi, ewe muta yabunwa, ewe muaya izu nabu na azu no, mama ya ewe bebe akwa." Odogwu's mother is pregnant for 2 and then 3 years and in labour for 2 weeks. She then bursts into a lament as to her plight, "Have you ever seen any one suffer the way I have?" The community discusses it. "Odogwu answer your mother," they say. "She is lamenting at the back of the house." When she delivers the child, he is asked, "What did you do to this child? Who carries a child for three years?" Odogwu essentially admits that he impregnated his mother for the purpose of a money-making ritual. The chorus then changes to “Ebenebe gbulu odogwu" ("Sacrilege has killed Odogwu.") The song tempo increases on this discovery: "Ndi Umuleri, Atu uwa bili na be unu" - "A horrible evil resides in your midst. Odogwu, the evil child who placed his hands on his mothers womb. Umuleri cleanse yourself of this evil:

"Late Chief TC Onyekwelu" is a great track epitomising once more Obiligbo's typical style. An 11 minute tribute and dirge for the late Chief T.C.Onyekwelu, it starts off with the slow ubo intro and call-and-response chorus, building up to a feverish vocal crescendo. The real power behind this track is the lyrics. The track starts with Obiligbo tracing his relationship with Onyekwelu, back to the first meeting, after Onyekwelu's return from Europe when Onyekwelu invited him to play at an occasion at a location called "Berger," (which is presumed to be a meeting of the ruling regional party, the National Council of Nigeria and the Camerouns, which Onyekwelu belonged to), ferrying him to the occasion in a chauffeur driven car and challenging him to perform "wonders with his music" by promoting consensus at the meeting, at which Obiligbo did not disappoint, even affirming that the gathering "agreed to his words." Subsequently Onyekwelu gave him two bags of money as his reward.

He then extols his virtue as his benefactor from that day onwards. He describes a day when he arrives at Onyekwelu's residence to hear the sounds of wailing and sorrow, only to hear of his death, which was confirmed by the look of despair and sorrow on the face of Onyekwelu's wife, whom he describes as Amalu Uche Diya ("she who knows the thoughts of her husband"). He expresses his sorrow with the chorus: "Onyekwelu Onye Ocha, Onyekwelu Ala na zu nwa" ("Onyekwelu a white man; Onyekweku, the breast that feeds the child"). He extols the symbolism, that the burning of Otu Onitsha Market is a huge blow to the Igbos. He further extols Onyekwelu's generosity, by the saying that a stingy man dies dies poor and miserable. The song carries on to give praise to named greats of Igbo land at the time: George Mbonu, Aaron Obijiofor (my children's great-grandfather), Sunday Nwankwo, John Ibeanu and Eze Omenaka. The song then ends after a roll-call of these greats by his repeating his usual refrain- "Okwo Chukwu Ka anyi na gbalu Odibo" ("In spite of wordly wealth, we are all still slaves to God.")

Mention must be made of Melody Okpelo, who is a recurrent mention in Obiligbo's song. Apparently, Melody Okpelo was the owner of Melody Records, Obiligbo's original record company, Onyekwelu's involvement being as financier of this company:

Chief Akunwafor Ezigbo Obiligbo & his Group - Late Chief TC Onyekwelu

"Oyi Mu Ikegbunem" appears to be a dirge, mourning the death of hi friend Godwin Nwa Ukonu (Godwin the son of Ukonu). The lyrics being thus: "Okpelo invited us to go to the town, anyone who needs the record come quickly." He then goes into a roll call of Igbo great and good, inviting them to mourn the dead man: Patrick Nwa (son of) Analiko, Nkwocha na Enugwu Ukwu (Nkwocha of Enugu-Ukwu) "Kanyi na kwa ya" ("let us mourn him") Alfred Nwa Onyiuke (A succcessful businessman of Nimo town) "bia ngwa ngwa" ("come quickly"), Angus Na Abagana (Angus of Abagana- referring to The King of Abagana- Angus Ilonze), "let us mourn him," Ejidike Bread (Mazi Ejidike was the owner of one of the most popular Bakeries in Igboland), Nwafor Orizu (Dr Nwafor Orizu was The Senate President) , Oye Aga Ufoeze, Michael Umeadi (a businessman of Nri in Anambra State):


Download Egwu Ogbada as a zipped file here.


The picture of the ubo above is from Wolfgang Bender's book Sweet Mother: Modern African Music (University of Chicago Press, 1991), which devotes several pages to Chief Akunwafor Ezigbo Obiligbo.

Sunday, December 5, 2010

Nigeria's Lady of Songs




I'll admit to being a little mystified by the current fascination with the cheesier byways of African music - '70s and '80s Afro-Rock, Afro-Disco and the like. The tracks on Frank Gossner's collection Lagos Disco Inferno, for example, strike me as cheap-sounding and derivative. But what do I know? The first pressing of LDI, released in May, has already sold out. And if you think it's just ironic hipsters in Brooklyn who are boppin' out to this stuff, check out With Comb and Razor or the many Naija message boards out there. They prove that Nigerians of a certain age are still pining for the sounds of Ofege, Harry Mosco and Doris Ebong. It all goes to show that African music, as listened to by Africans themselves, has never been as exalted or "pure" as we outsiders may have once thought.

Back in the day, Christy Essien (later Christy Essien-Igbokwe) was the queen of disco music in Nigeria. She cut her first album, Freedom (Anodisc ALPS 1015, 1976), when she was sixteen, and copies of her '70s pressings today command astronomical prices on Ebay. Essien was just one of a cohort of female singers who made a splash in Nigeria in the '70s & '80s, like Onyeka Onwenu, Patty Boulaye and Martha Ulaeto, and if you want to know more, Uchenna Ikonne discusses them extensively here. According to Uchenna, Essien's 1981 outing Ever Liked my Person? (Lagos International LIR 1), was meant to take her to the next level of international stardom, and it certainly made an impression in Nigeria, where henceforth she would be known as "Nigeria's Lady of Songs."

I present for your perusal two late '80s recordings by Essien-Igbokwe which display her mature sound. Taking my Time (Soul Train Records STR 1) showcases slick production values and plenty of influences from country-western ("Show a Little Bit of Kindness") to makossa (the Yoruba-language "Iya Mi Ranti" and Igbo "Ibu Ndum"). All in all, a pretty decent example of middle-of-the-road Nigerian pop music:











Download Taking My Time as a zipped file here. 1988's It's Time. . . (His Master's Voice HMV 066) is a little less successful in my opinion, being a little too dependent on the synthesizers for my taste. Still, it has its moments:









Download It's Time as a zipped file here. In later years Essien-Igbokwe devoted herself to acting in Nigeria's burgeoning video industry and in November celebrated her fiftieth birthday, an occasion duly noted in the Nigerian media. Here she is today: