Farofa

Farofa, a meal composed of cassava flour toasted in fat or grease, is a staple food in Brazil. It is also the name of a musical movement launched in the 1970s by the Nigerian musician known as Eppi Fanio.

Fanio never really achieved major fame outside of western Nigeria, and even there his dance troupe, the Farofa Dancers, were probably more acclaimed than the music that guided their spectacular gyrations. For a while, though, Fanio seemed determined to establish Farofa as a musical brand that would be every bit as revolutionary and inextricably associated himself as Fela Anikulapo-Kuti's afrobeat.

This intention was made clear in the sleeve notes of Fanio's 1975 debut, penned by producer Odion Iruoje:

For some time, it seems that the popular music of the west Coast of Africa has been in the doldrums. Apart from Afro-beat which came into being since 1965 and some occasional Afro-rock hits, nothing seems to be forth-coming by way of another original African popular music. This record has been produced to fill that gap.

By successfully blending authentic African rhythm, played by the natives themselves, with some other musical influences, EPPI FANIO has created an Afro-folksy beat music which, at the same time, is appealing to both jazz and classical music enthusiasts.

With an approach as fresh as this combined with innate creativity and solid musical background, we can be sure that EPPI FANIO is going to be with us for a long time and "FAROFA" is the beginning of his beginning.

(Frankly, I'm a bit surprised that Iruoje would be so dismissive of the music of the first half of the 1970s, considering all the amazing, vital records that he himself produced during this period.)

The Farofa sound never really caught on the way it was hoped to, though. Part of the problem (in this writer's opinion) lay in the fact that it was hard to figure out exactly what it was--initially it seemed to be Yoruba folkloric music draped over afro-rock underpinnings furnished by musicians like BLO's Berkley Ike Jones and Ken Okulolo of Monomono; later Fanio turned a bit more towards melding his folksy melodies with disco, then funk and boogie and whatever else was the big sound of the day.

Another problem was Fanio's apparent mild-mannered musical presence. It takes a BIG personality to single-handedly establish a musical brand and the humble, retiring Fanio never really exuded that on record. He has, however, remained an industrious and articulate figure in the music scene and commanded respect amongst of his peers as the president of the Performing Musicians Association of Nigerian for a period during the late 1990s.

Here are two tracks from the 1975 LP Farofa. The lead vocals on "Here's My Love" are performed by Eric Kol, then freshly late of The Immortals.

Eppi Fanio - "Here's My Love"
Eppi Fanio - "Ikoko Ti Yio Jata" (On Perseverence)"

Lagos City Transport

MsMak requested this one yesterday.

As has been previously established, Nigeria had long been one of the world's most important markets for reggae music, and by the mid-80s reggae was the chief indigenous genre, largely displacing styles like funk, R&B and even highlife.

While most of the reggae artists of this period were rootsmen in the Marley-Tosh mold, there was also a slightly younger generation of raggamuffins who gravitated more towards the more current dancehall style then known as "rub-a-dub" and microphone heroes such as Frankie Paul, U-Roy, Eek-a-Mouse, Barrington Levy and especially Yellowman.

Too Low For Zero (or TLZ) were among the earliest exponents of this style to blow up in Nigeria and were significant for their integration of the "fast-chat" style made famous by UK dancehall MCs like Smiley Culture and Asher Senator. The big hit from their 1987 debut Emergency, was "Molue," a tribute to Lagos city's ubiquitous cadmium yellow sardine-can public buses.

(Man... A bus ride really was 20 kobo back then. That's crazy!)

Too Low For Zero - "Molue"
Too Low For Zero - "Cool Stylie"


(I had to dig pretty deep for this one, so I apologize if it's kind of rough on "Molue.")

If Only I Could Fly

BeninBoy requested this song, so here it is:

Harry Mosco - "If Only I Could Fly"


From the 1982 LP, Sugar Cane Baby.

Dr. Orlando Owoh (1934-2008)

Orlando Owoh dies at 74

The legend of Kennery highlife music, Dr. Orlando Owoh on Tuesday passed on at 74, report. Victor Akande and Dare Akindehin

Legend of Kennery highlife music Dr. Orlando Owoh is dead.

The musician died on Tuesday at the General Hospital, Ikeja, Lagos where he had since been on admission, following a long illness associated with stroke. He was 74.

Born as Stephen Oladipupo Olaore Owomoyela, the Kennery Music king, was until his illness and eventual death, the toast of highlife lovers, owing to his romantic voice, philosophical lyrics and energetic stage performances.

Members of the arts community have expressed sadness over the loss of the man they describe as a rare gem.

A cultural activist and Editor of The Guardian on Sunday, Jahman Anikulapo said the sad news got to him while celebrating the landslide victory of Barack Obama, the US president-elect.

Lagos State Governor Babatunde Fashola (SAN), yesterday expressed shock at the sudden death of Orlando.

Fashola, in a condolence letter to the widow, Shade, described him as an exceptional human being whose musical talents remained unrivalled till the very end.

He said: "The passage of Dr. Orlando Owoh, as he was popularly known, at this time has left a big vacuum which would be very difficult to fill".

Fashola said with a brand of music which was inimitable, Dr Owoh departed with fond memories of his very rich contributions to national development through his strong messages against socio-cultural and political ills.

Ogun State Governor Gbenga Daniel described Owoh’s death as "unfortunate".

He spoke yesterday through the Chairman, Ijebu East Local Government Area, Hon. Tunde Oladunjoye, who visited the late musician’s family to deliver Daniel’s condolence message. Oladunjoye said:"The death of the highlife musician is a colossal loss to the arts and culture community because he was an embodiment of talent; a composer, guitarist, producer and multi-talented instrumentalist."

Oladunjoye, who was Management Adviser to the late musician’s recording label, Owoh Records, said he would be remembered for his unique sonorous voice that earned him the title Kennery."

He prayed God to grant his family, friends, fans and admirers the fortitude to bear the loss.

Born 74 years ago at Osogbo in Osun State to Jeremiah and Morenike Owomoyela, originally from Ifon town in Ose Local Government Area of Ondo State, Orlando became a musician at 12, despite opposition from his parents. He had left Osogbo for Ilesha, in pursuit of better life prospects immediately he completed his eight-year apprenticeship under his father.

Armed with a Standard Six certificate, he returned to Osogbo where his budding musical talent caught the attention of renowned artiste, Kola Ogunmola who eventually invited him to Ibadan in preparation for the First All African Games in Dakar.

He established his called Orlando Owoh and his Omimah Band in 1958.

His journey to stardom began with his debut album in 1960 under Decca Records. The first album, Oluwa Lo Ran Mi was followed by another successful one; Alantere Ijo Oyege. This album put him on a better footing.

His music, a fusion of highlife and juju, has recorded over 45 albums, including titles like: Ganja I and II, Dele Giwa and Money for Hand Back for Ground, Jobs Experience, Logba-Logba, Kangaroo, Iyawo Olele, Money palaver, Tribute to Fela, among others.

Orlando Owoh & his Young Kenneries - "Easter Special/Baba Wa Silekin/Obinrin Asiko Lagbo"

Old school Naija types... Help me out please!

There's a song I've been trying to find for years now.

It was popular around 1985 or so. Had kind of a calypso or dance band highlife sound to it, but oddly enough it was a breakdance anthem at my school. (Long story...) It was sung by a man and a woman and the lyrics went

This kind of (wo)man, I never see o!
This kind of (wo)man, I never see!

I find am so tay I tire!
I find am for far away!
Na im I like, na im I go live with o!

This kind of (wo)man, I never see o!
This kind of (wo)man, I never see!

I have asked everybody and nobody seems to remember the song, but it was big for a minute, man... Somebody has got to know what I'm talking about!

In fact, I just realized that actor and comedian Patience Ozokwor (a.k.a. Mama G) recorded a cover version:



Anybody know who did the original? I remember hearing back in the day that the record actually was not Nigerian, but came from Sierra Leone or Cameroon or somewhere. I don't know for sure, though...

Anybody?

Apostles.

The band was officially called The Apostles (or The Apostles of Aba), but as some of their album covers announced them simply as "Apostles," I grew used to calling them that. Something about dropping the definite article makes the name infinitely more mysterious, otherworldly and intangible.

When I was coming up, throughout Ngwaland you would see their albums--particularly Wisdom and the eponymous debut LP that pictured the band dressed in white like a contingent of angels--displayed in every family's living room. I actually thought they were a Christian group, though... Perhaps they were at the time; I know a few of the 1970s eastern rock bands that managed to hang around until the late 80s and early 90s increasingly began to dabble in gospel and mellow reggae as their original fan base grayed.

Here, though, we have an offering from the band's heyday, when their hair--and that of their audience--was still black (and beautiful).

As the sleeves notes put it in wonderful Onitsha pamphlet-esque prose:

There is no doubt that the Apostles are just about the biggest thing to hit the Nigerian Pop Music scene, recently. Perseverance, endurance, hard work and able Leadership of Walton Arungwa-- Group's Lead Guitarist are the Magic in their Success.

The Apostles have to their credit four hit Singles; amongst them are "Down, Down the Valley", which served for them as an introduction to the music world, and a quality album captioned "The Apostles" which is still hitting the Country Bang Bang.

Now what I have to say about this one--BLACK IS BEAUTIFUL ALBUM have already been said about hit albums of the Beatles, Jackson 5, Commodores, Meters and Osmond Brothers. For modesty sake, let me say that BLACK IS BEAUTIFUL is ONE of the best of its kind. It will get you wrapped up.

HARRI EBERE C.

Apostles - "Black is Beautiful"
Apostles - "Ndi Nkwa"

Born Throw Away

I haven't had time to post much as I've been working on a few projects that I hope will come to light soon, but I figured I'd try to get to some of the requests that have piled up over the past few months.

For example, when I was still in Nigeria, ambinwoke asked to hear some music from Victor Chukwu... I never did find the particular Victor Chuks & the Black Irokos album that I promised, but I did manage to pick up a somewhat raggeed copy his LP Akalaka.

(Not sure what year this is from... Judging by the attire worn by the musicians on the cover and the fact that the record has the old pink and orange Tabansi label, I'm guessing 1977-ish.)

Victor Chukwu - "Born Throw Away"
Victor Chukwu - "Ogbu Mmadu"



Feel free to hit me up with more requests, folks... I'll try to fill as many of them as I can!

Before They Were Pop Stars: Felix Lebarty

In 1982, mere months after the release of Felix Lebarty's blockbuster debut, Lover Boy, a second Lebarty album hit the market. But rather than following the tried-and-true industry tack of designing the sophomore album to capitalize on the success of its predecessor by churning out a batch of similarly-styled hopeful hits, it offered a dramatic reversal in sonic direction.

And it confused the hell out of everybody.



The baffling thing about Girls For Sale was the fact it just plain didn't sound like the Lover Boy that the audience had quickly grown to know and love: Not only was Jake Sollo's slick discolypso pop nowhere in evidence--in its place a gritty, lo-fi rock sound--even the braying vocals sounded little like Lebarty's cooed come-ons. All in all, it bore more resemblance to an album by Ofege or The Apostles of Aba than to Lover Boy.

The reason for this incongruity was the fact that Girls For Sale was made up of tracks Lebarty had recorded earlier in his career, before he was discovered and groomed for pop stardom by Kris Okotie. The exact date of the recordings is not clear to me (though from their sound, I would guess sometime in the late 70s) and neither are the circumstances by which they came to light, but in a 1989 interview with Prime People magazine, Lebarty blamed it on singer, producer and then-chairman of the Professional Musicians Association of Nigeria, Tony Okoroji:

"That guy really wanted to mess me up, and I can never forgive him. We talk and all that but each time I see him he's like someone who doesn't like musicians.

"The day I learnt that Tony Okoroji was behind the re-issue of my first record--Don't Take My Girl--while my "Lover Boy" album was still on the charts was the saddest day of my life. It was like you've struggled for a long time and someone tried to turn the heat off your album.

"I regret knowing someone like him. People reacted to it as my follow-up album to Lover Boy. Can you see the damage?"

(Personally, I had assumed that Girls For Sale was a collection of demos--"Don't Take My Girls" is the title of one of the songs, by the way--but Lebarty here describes it as a reissue of an earlier album. I don't know anything about that, but of course, like I said before, music from the Edo-Delta region is often obscure to the rest of the country. Does anybody from that area know if Lebarty released an album locally before Lover Boy?)

In any case, the album provides an interesting glimpse into Lebarty's formative years. Note that "Mr. Big Brother" was refurbished on Lover Boy as "My Number One" and its lyrics seem directed toward Felix's older brother, highlife bandleader Aigbe Lebarty.

"Girls For Sale"
"Mr. Big Brother"

****

Somewhat related... but not really:

When I made my last Felix Lebarty post, an Anonymous commenter chided me for repeating the rumor that Felix was a cab driver in the US:

hello everyone,its a pity that mostpeople dont really know about felix personal life,he never stayed in the states to drive cabs,because he never stayed there for too long,he was always there for recording his songs,and that was all and about nameing his song after dateing someone is a big lie,coz all the names he used in all songs where all fake, no names in all his ever exited in true life.this things said about him are rumors,dont beleive evry thing you read.........

So it is with some degree of satisfaction that I point out this recent interview I came across yesterday. In it, Lebarty confirms the taxicab thing:

We learnt that things became very tough for you before you left the US.

(Laughs) Let me tell you, I think it is a very big secret. Any man that understands what living a good life is, you cannot find him going broke for too long, because he will always find a means of making ends meet. He will always look at what is happening and fits himself into it. The only people that go broke are those who are not willing to condescend to the level they should; people who are proud. Even in my negativity, I would come to you and ask you how you are making it.

Was that what you did when you went to the US?

On my first visit to the United States, I was received like a star by my community. But when things became tough I asked them, 'Oh boy, how una dey make money here?' They told me it is either you sell drugs or get involved in 419, or drive a taxi.

So, you decided to become a cab driver.

Yes. I put all these things together and I said that people who were driving taxis were not doing an illegitimate job. They could make $80 per day at that time. If you drove from morning till 11 p.m. or midnight, you could make $300. I bought a cab and they started saying 'oh, a star is driving taxi. These people are going to finish you.' But I told them to tell everybody who cared to listen that I was a taxi driver here. I was even the person that broke the news. I bought three more cabs and employed drivers. So, when they drove, I would take $50 from them. So, I earned like $180 a day. As the money was coming in, I was investing it. I came to discover that I was better than those that were selling drugs.

And now that I think about it, he also alluded to all this on his little-remembered (and for good reason!) 1992 LP, 419:

Felix Lebarty - "Missing You"
Felix Lebarty - "419"

> chuckle <

Anyway, it's a good thing Felix didn't get mixed up in that business because singer Chris Mba got busted last just week. Poor guy!

We Shall Win!

The mid-western region of Nigeria--an area once known as Bendel State, but now subdivided into Delta and Edo States--has produced a great many outstanding musicians. However, few of them get the opportunity to rise to national prominence largely because the region is composed primarily of minority ethnic groups.

Yes, you have your Sir Victor Uwaifo, Sonny Okosuns, Kris Okotie, Felix Lebarty, Evi-Edna Ogholi-Ogosi and others, but for each one of these, there are scores of talented artists whose fame never extended much beyond their immediate locality, so I'm always happy when I discover some of them.


Until recently, Pogo Ltd was unknown to me... though a few of the members were not: the Benin-based band was made up of guitarist Emma "Cherry" Ogosi, bassist Robo Arigo, keyboardist Emman Osagie Iguagbonmwen, drummer Mike "Gasper" Okuofu (though they all traded instruments) and lead singer Pat "Finn" Okonjo, former frontman of The Hykkers.

(click to bigificate)

They seem to have been fairly popular down there, but the only album from them I have encountered is the reggae set We Shall Win, which I shall--by way of an educated guess--date to 1979.

Interestingly, I found that I was actually familiar with at least one song on the record, the title track:

Pogo Ltd - "We Shall Win"

It was a ubiquitous anthem during the era of the struggle against apartheid, but I actually thought it was an ages-old church song or a public-domain standard or something... But then again, it has somewhat specific references to then-current events involving Rhodesian Prime Minister Ian Smith and South African President John Vorster. So yeah... This must have been a pretty big hit for them.

It would seem that Pogo Ltd broke up soon after We Shall Win: In 1981, Emma Ogosi embarked upon a successful solo career as a country singer, and then later as producer/husband of mid-80s reggae star Evi-Edna Ogholi. Robo Arigo also launched a less sensational (but still very interesting) career as a solo artist and producer. Pat Finn Okonjo went and got himself a 9-to-5, working at the Nigerian Television Authority's Benin office.

When (the awesome) Jake Sollo returned to Nigeria after his long London sojourn, he looked up his old Hykkers buddy Finn, with a mind to putting the old band back together. I don't think that project ever came to fruition in the midst of Sollo's busy schedule, but Pat and Jake did collaborate on the album In The Beginning in (again, educated guess) 1982.


Among the tracks is a reprise of Pogo Ltd's big hit:

Pat Finn - "We Shall Win"

(By the way, I have been wondering whether Pat Finn Okonjo is related to renowned economist Prof. Chukwuka Okonjo, who also happens to be the father of Nigeria's former crusading Minister of Finance and Foreign Affairs Ngozi Okonjo-Iweala and grandfather of novelist Uzodinma Iweala. Anybody know?)

Jake Sollo is Awesome! Part 2: Ken Eme/1st Flight, Veno and the Prophet "V"

Just so that there is no confusion, let us make this point perfectly clear right from the get-go: Jake Sollo was the hottest, the most prolific, the very best music producer in Nigeria during the first half of the 1980s... and perhaps ever. He is awesome!

A little background: Sollo (nee Nkem Okonkwo) started his career in the 1960s with The Hykkers, a "beat" group formed at the University of Nigeria, Nsukka.

The Hykkers - "Stone the Flower"

The Hykkers remained a popular draw across the country throughout the Nigeria-Biafra war but disbanded shortly thereafter. Sollo subsequently joined the Aba-based Funkees, who soon became instant superstars due to the East-Central State Broadcasting Service's heavy rotation of a rough demo called "Akula Owu Onyeara" (check out the more polished--but still raw and funky--officially released version on Soundway's Nigeria Special). The Funkees phenomenon spread across the country, into Cameroon and eventually to England where they were championed by legendary BBC Radio 1 DJ John Peel.

By 1976, with creative and personal tensions slowly disintegrating The Funkees, Sollo was offered the golden opportunity to play with the creme de la creme of Afro-rock groups, Osibisa.

Sollo's distinctive rhythm guitar graced hits like "The Coffee Song," but his tenure with Osibisa was short-lived: On July 19, 1977, as the band prepared for a historic performance at London's Royal Festival Hall (captured on the double LP Black Magic Night), Sollo and two other recent Osibisa recruits--keyboardist Kiki Gyan and conga man Kofi Ayivor--failed to report for duty. Gyan--feeling shortchanged by group leader Teddy Osei--had convinced his fellow newbies to join him in a work stoppage to force the management to grant them a raise.

The gambit backfired; at the eleventh hour, a furious Osei called the band's former keyboard player Robert Bailey, percussionist Darko "Potato" Adams, and BLO bassist Mike Odumosu to play the concert, and fired the three mutineers. Author Charles Aniagolu writes about the aftermath of the incident in Osibisa: Living In The State Of Happy Vibes And Criss Cross Rhythms:

Like Wendell, Spartacus and Loughty before them, the three dissidents soon realised [sic] they'd made an awful mistake. They became regretful and penitent, appealing to Teddy to overlook their pertinacity and let them back into Osibisa.

Teddy refused. "We felt that clearly they had jumped into the fire with their eyes open and had no one else to blame but themselves for their misfortune". They later relented and reabsorbed Kofi Ayivor, but not the other two. Within a couple of years, a very frustrated Jake Solo [sic] was dead, killed in a car crash in Nigeria. After a series of fits and starts, Kiki Gyan moved back to Ghana and became a junkie--hooked on heroin.

Even recognizing that Aniagolu is an ardent Teddy Osei sympathizer who spares no efforts in his book to portray all who defy Osei as losers, I wonder if his decision to gloss over Sollo's subsequent career and describe him as "very frustrated" was motivated by any special insight into the man's life. Because from where I'm standing, Jake did just fine after Osibisa. He got steady work as a session man and producer in the London scene and his dance card stayed full upon his return to Nigeria in 1981, especially after the enormous success of Felix Lebarty's Lover Boy.

As the London Era drew to a close with the budgets (and visas) to record in the UK becoming increasingly scarce, Sollo set up shop in Enugu, recording at Tabansi Studios and Rogers All Stars Studio (located in the nearby commercial hubs of Onitsha and Awka respectively) and started cranking out records at a furious clip.

During this period, Sollo was the most in-demand producer in Nigeria. His specialty was bouncy, high-gloss boogie, though he occasionally produced artists in other genres as well. Regardless of which style he was working in, though, a Jake Sollo production was instantly recognizable: the fat, angular basslines... the chirping and chattering guitars... but the chief sonic signature of Jake Sollo records was probably the squiggly and squelchy sound of the Prophet "V".

While the Prophet-5 synthesizer had been introduced in the 1977 and quickly become a hot piece of hardware among art-minded rockers like Kraftwerk, Roxy Music, Talking Heads, Gary Numan and New Order, by the early 1980s there were still less than 2000 of them shipped and I believe Sollo had the only one in Nigeria.* The revolutionary polyphonic sound of the Prophet allowed it to be a more convincing replacement for horn arrangements. Sometimes Sollo utilized the synth sparingly, as an accent... and other times, he virtually slathered his tracks in it.



A fine example of Sollo's heavy Prophet style would be the work he did on the album Winner and Loser by Ken Eme (1st Flight). I wish I knew more about him/them; as it is, I'm barely certain about whether he was a solo artist or part of a group!

I first encountered this record in 1983 (or maybe early 84) when the music videos were played on NTA 9 Calabar. As I mentioned before, the immediate appeal of the video was the fact that they looked really cool. Unlike a lot of groups of the time, they seemed to have a coordinated style and gimmick (they wore boots and sweet flight jackets) and they had some awesome breakdancing (by this time, though, we still referred to this style of dancing as "Electric Shock!"--yes, with the exclamation point). The videos billed the artist as "1st Flight" (with a logo showing a low angle of an aeroplane taking off) and they seemed to be a trio... or at least a duo (it was a bit hard to distinguish the actual group members from the dancing extras sometimes). I recall hearing on the radio that the group's lead singer was named Ken Eme.



Now I have the album in front of me and it says both "1st Flight" and "Ken Eme" on the cover, and while he's pictured chilling with one of the other guys on the back, the other fellow remains unidentified. Apart from Sollo's semi-regular session men like bassist Modjo Isidore and pianist Sony Enang, the only person credited is Ken Eme and the LP label doesn't mention 1st Flight at all.

Oh well...

Anyway, here's one of my favorite cuts from the album--a funky neo-calypso banger called "Love is What You Need." (Listen to it over good speakers or headphones and dig all the cool stuff Jake's got going on with the guitars in there!)

Ken Eme/1st Flight - "Love Is What You Need"

I never heard of 1st Flight again after 1984, and they seem to have been erased from the popular consciousness, because apart from my boy Enyi, I cannot find anybody who remembers them. Even my older sister with whom I used to sing the title track, Donny & Marie style--I asked her if she remembered "Winner and Loser" and started singing it; she looked at me like I was crazy!



The style on display on "Love is What You Need" reminds me a lot of another Jake Prophet track: "Groove I Like" by Veno. This song (which has been a favorite among boogie lovers over the past year) is from the album Nigeria Go Survive, from 1985. The release of this album marked (for me, at least) a distinct detour in the direction of Nigerian popular music. Maybe because there wasn't as much Jake Sollo music around after it? Someone told me Jake died while working on this album, but I'm not sure that's correct. (The car crash that claimed Jake and Al Jackson Nnakwe was in late 1985). Anyway, this album was co-produced by Roy Obika of the Esbee Family, and much of it really doesn't sound like Jake's work. Is it possible that Obika completed Sollo's work after the accident?

Probably.

For now, enjoy the Jake Sollo awesomeness!

Veno - "Groove I Like"


*We-ell... Come to think of it, William Onyeabor must have had one too, right?

Nigeria, we hail thee...

48 years today... You've come a long way, baby!

Theadora Ifudu - "Her Name Is Nigeria

No More Water

It's raining like the dickens here and there's a flood watch on, so it's not without a tinge of irony that I post today's funky nugget, "No More Water in the Well," by Bongos Ikwue & the Groovies.

Unlike most of the forgotten Nigerian musicians who eventually find their way onto this page, Bongos Ikwue is an artist whose name and music still resonate with a large portion of the Nigerian populace. Known primarily as the folky and philosophical troubadour behind sentimental favorites such as "Still Searching," "Sitting on the Beach" and "Cock Crow at Dawn," Ikwue is acclaimed as one of the most sensitive songsmiths in Nigeria's pop canon; many forget, though, that he started out as a righteous rocker.

Ikwue's 1973 debut, the heavily psychedelic You Can't Hurry the Sunrise (produced by Ginger Baker and Jide Alawiye), was one of the first releases from Baker's ARC label, but Ikwue soon signed up with EMI where he recorded a string of classic LPs through the 1970s (including the rarely-seen self-titled set from which today's track is taken).

Ikwue's star dimmed somewhat in the 1980s due to poor handling by his new label Tabansi, and a bit of embarrassment surrounding the widespread rumor that his calypso ballad "Mariama" had been addressed to the First Lady Maryam Babangida, with whom he had allegedly enjoyed a passionate affair in their younger days.

Bongos has since retired to his native Benue State where he has established himself as a magnate in construction and manufacturing. He has long promised a return to the music scene, though. In fact, I think I recall him featuring on a record with some rapper a few months ago and announcing that his new album was completed and would be out later this year. I sure hope it doesn't suck!

Bongos Ikwue & the Groovies - "No More Water in the Well"

(Sari fa' di likkle skip dem)

WA HO HA!!!

As I have stated a few times before, I have something of a love-hate relationship with Nigerian reggae. I mean, I've actually warmed up to it considerably over the past year or so (mostly for scholarly reasons) but as I have precious little space in my personal collection (and even preciouser little money to spend on vinyl in this wintry economic climate), when I'm shopping I usually veto the Naija natty riddims right off the bat.

Thankfully, they're usually easy to identify too, since 1980s album designers took to stenciling jagged lettering and red-gold-green hues on every goddamn sleeve. Or my other rule of thumb is: "When in doubt, just avoid any LP that depicting persons with dreadlocks."

Pity me; for my prejudice almost made me pass on Pazy.*

In fact, I did pass on the record twice before I finally picked it up on a whim... Well, actually, it was a bit more of an educated process than just a "whim"; after all, my aversion is chiefly to reggae from the mid-1980s onwards and the orange-and-black EMI label on this disc suggested that it was from the 1970s... 1982 tops. And while I didn't recognize any of the musicians listed on the back (Pazy Etina? Makos? Colins Osokpor? James Etina?), none of them were credited with "Linn drum programming" or "synbass"--Jack Stone was even given as playing the organ and not "keyboards"! So yeah, I figured that if nothing else, at least this reggae record would be rootsier than the tinny Casio skank that scored much of the Babangida and Abacha eras.

Sure enough, the album does start off with a couple of decidedly tasty reggae cuts--one minute into the inaugural track, the lovely Carlton & the Shoes-esque "Comfort Me JahoJah" (never mind how it's spelled on the back cover), I already knew this was to become one of my favorite records--but soon veers off into some heavy psychfunkrock of the brain-frying variety.

Pazy and the Black Hippies - "Comfort Me JahoJah"
Pazy and the Black Hippies - "Elizabeth"
Pazy and the Black Hippies - "Wa Ho Ha"


Apart from Fuzzy (who I have assumed is the Fuzzy Gbagbi credited on the Sunny White LP) I haven't seen these guys names anywhere else. Wonder if they have any other albums.

*Ditto Muddy Ibe

...Aaaaaaaaand yet more unknown soul.

Another artist I know absolutely nothing about. The album has a bunch of great musicians on it, though: the ebullient Mambo on drums, the ever-reliable Eddy Pollo on tenor guitar, the modest Eugene Ndema on rhythm, the aptly-named Soul on bass, the whiz kid Nkono Teles on keys and the underrated Eric Kol on background vocals... all pulled together by master producer Odion Iruoje.

Not too sure what "Burden Star" means, either; I thought it was "budding star." Oh well... Either way, it's a pretty cool track, I think.

Mikebbi - "Burden Star"



(Just in case it isn't completely obvious by now: Yes, I am kinda stalling to avoid having to write, y'know, actual posts and stuff.)

A little mo' unknown soul for Friday

Another mystery artist. I know nothing of this Sunny White or the Clinks. Nor am I familiar with any of the names in the list of musicians who played on the record (with the exception of saxophonist Fuzzy Gbagi Alto, who seems to have played on the similarly obscure Wa Ho Ha, by Pazy and the Black Hippies--more on that later).

Although I'm guessing this record is from some time between 1980 and 1983 (since the credits have it being recorded at Phonodisc Studios), the title track is on some throwback 1960 Stax tip.

Ahhhh... Let's call it what it is: it's a ripoff of "Soul Man," isn't it? (Rest in peace, Black Moses!)


Sunny White and the Clinks - "Rock On Your Feet"




(Couple of pressing flaws on this one, fams)

Who is Tony Barrett?

I feel like I should know who he is... The name does activate distant bells in my head... But I don't know; a handle like "Tony Barrett" could belong to any number of obscure soul, reggae or calypso singers.

(Yes, I realize the sleeve says "Tony Barreth," but the spelling on the label, Barrett, seems more likely to be correct and so I'm going to go with that.)

I do, however, know the band that backs Barrett on this 1977 soul workout--Samuel Abiloye Esse, Johnnie Woode Olimah, Ottay Hima Blackie and Bola Prince, better known as the SJOB (or S-Job) Movement.


Tony Barrett & the SJOB - "Mocking Lover Girl"





(I haven't completely worked out all the technical glitches, but small by small we're getting back into the game.)

(Part of) Today's Haul

I fear I shall never get the grime out from under my fingernails but I'm still pretty pleased with the day's take.

I haven't gone through them all, but so far I am most excited about finding a heretofore unknown William Onyeabor LP called Good Name, from 1981. My bad... Did I say 1981? It's actually from 1983. 1981 is the release year of Great Lover, the other rare Onyeabor LP I found. Take my word when I tell you Good Name is easily the most INSANE of all his records. Pure psychedelic synth madness!



And then there is this album by Ken Eme/First Flight:



I feel pretty sure that me and my friend Enyi are the only two human beings on earth who remember this record and I've been looking for it for... twenty-four years maybe?

First Flight never really made much impact outside of Calabar (or even within it), but we loved to watch their music videos on TV after school because they wore fly-looking space boots and had some really cool elctric boogie dancers (including a midget in Raphael Cameron pants).

There are a lot of records from my childhood that I remember being really hot and funky, but turn out to be disappointing when I listen to them today (I still love them for sentimental reasons, of course). I half expected this to be one of those records, but NOPE! it's full of that lean, glossy Jake Sollo boogie sound and I'm pretty sure heads are gonna dig the hell out of it, so stay tuned, true believers!

Ah well... It's started raining and that always messes with this server, so I better publish this while I can. More to come later...

(Sorry about the crappy pics, yo... NEPA is on half current so I couldn't get any good light on them.)

Oliver de Coque (1947-2008)

Just heard the news.

More to come as I learn it.

R.I.P.

Thanks to John B. for furnishing us with this mp3 of Oliver's biggest hit, "Identity"

"Nebo" "Neighbour" "Highlife"

Sorry I was so slow on the uptake identifying this song when N.I.M.M.O. mentioned it in the comments... Of course I remember "Highlife" (I too used to think it was called "Nebo"); this song was everywhere back in '83!

"Highlife"

Also, I apologize for my silence over the past week or so; Internet's been on the fritz at the Comb & Razorcave, but we're all good now.

Africa will never, never, never, never, never, never, never, never, never surrender!

American disco music has taken over Africa. During the days of Victor Olaiya, the Uhurus, the Ramblers dance-bands there was jazz music from America. Then there was pop music. It never gave us musicians a chance to move out. And you know with Africans, anything that comes out of England is a gas. Then during the time of Victor Uwaifo and Fela there was this soul music.

I always remember that one day Victor Uwaifo printed some handbills saying that no one should listen to soul music. But I think that soul music is like our aladura (praying) songs--it's a spiritual music. But they came down and took the business from us.

Now these days we have funk, but I'm not lying low and I won't let it take garri from my hands. So I have decided to create my own type of African disco music. Believe me sincerely, it is catching on like wildfire. This music we hope to export to America and England.

--Sonny Okosuns, quoted in West African Pop Roots by John Collins

When Sonny Okosuns started his music career with The Postmen in 1966, the chief models for his look and sound were overseas rock & rollers like Cliff Richard and Elvis Presley. However, by the beginning of the 70s, as he fronted Paperback Limited, he found himself becoming increasingly dissatisfied with merely recycling Western pop and desired to play more African music.

The rock-loving, postwar youth audience was not really trying to hear a lot of that stuff, though. As Okosuns explained to Gary Stewart, the kids loved when he did the "copyright" tunes, but zoned out when he tried to introduce new, indigenous-inspired sounds: "I got all the youth, you know, who were so much interested in undergound [rock], but I lost them when they started listening to the kind of music I was playing. I wasn't playing the ... Jimi Hendrix kind of music or the Who or the Kinks kind of music.... That's what the youth wanted to hear.... I was in the crossroads. I was winning one way but losing in many ways."

It was with this dilemma in mind--how to appeal to audiences desiring the latest sounds from foreign without surrendering his African identity--that Sonny formed Ozziddi in 1974, pairing folkloric lyrics, rhythms and melodies with cutting edge rock arrangments to enormous success. Sonny's friend Fela Ransome-Kuti arrived at a similar resolution with his development of afrobeat--but where Fela stubbornly stuck and continued to purvey his patented style long after its soul, jazz and Latin elements fell out of favor, Okosuns never, never, never, never, never, never, never, never, never surrendered. He kept searching for new ways to keep his African music competitive with the current hot sound, be it rock, reggae, makossa or calypso.

By the time that I personally discovered Sonny, he was in his "Ozziddisco" period, so for me this sound remains the definitive Sonny Okosuns sound. Back then, I thought it was just some dope dance music, but listening to it now, I realize how cannily crafted it is. It can blend in easily with any of the disco stompers of the day, but it doesn't ape disco; the essentially "African" character remains intact.

"Tire Ni Oluwa"
"Tell Them"

Both of these tracks are from the 1979 album 3rd World, which I just now realized was entirely produced by Eddy Grant.

And speaking of which... I was able to get an mp3 of Eddy Grant's "Papa's Land" remix (courtesy of Naijajams--thanks, Bobo!) so I'll post it here, along with the original version.

"Papa's Land" (1977)
"Papa's Land" (1979)