My joy is so great...

I have never been a great believer. When it comes to belief I have always been on the side of caution. It may have been my catholic upbringing and the deeprooted hypocrisy that comes with this religion that has led to a profound mistrust of firm believers. I would even go as far as to state that I am convinced there should always be room for doubt.

I won't come as a surprise that my attitude towards religion is somewhere between serious suspicion and extreme wariness. And certainly I draw the line at religious groups claiming to be superior or better than others, and firmly oppose any sects, extremists or religious nuts claiming to belong to the "only acceptable religion". I mean, if you are going to be religiously inclined that's fine, but don't bully others into involuntary partaking in your convictions.

In my opinion too much is made of the differences between religions. The fundamental difference between christianity and islam, of example, may be the belief in the human god, but apart from this the similarities far outweigh the differences. The emphasis on differences usually has its roots in culture and politics, or in the interpretation of the principles of the specific belief. The scope of interpretation within one religion is usually greater than the root difference between 'rivalling' religions. Strict interpretations and a strict imposing of one interpretation have over the centuries only resulted in greater variety. New varieties have had to accentuate their differences in order to survive, thus creating rivalry, hardline interpretation, oppression and finally new religions...
And I don't mean I am immune to the reasons that lay at the basis for belief and religion: fear of the unknown, lack of control of one's destiny and fate, uncertainty, insecurity and the sense of insignificance within the enormity of all.

A country that has been at the forefront of the rivalry between religions for quite a while now is Nigeria. As far as I know (and I realise I am very much limited by the minimal coverage of Nigerian affairs in western media!) this has only led to a violent struggle in the last few years. In music we have come to know both strong believers of the Christian faith, like juju-stars King Sunny Ade and (the reformed) Chief Ebenezer Obey, and devout Muslims, such as that hero of apala music Alhadji Haruna Ishola.

In this post I would like to share with you exponents of both Christianity and Islam. And in both cases with an explicit focus on their respective religion.
Islam is represented by an album by the Muslim Carol Singers, led by brother Latifu Fagbayi Oloto. I bought this record in the mid-1980s at Stern's, and I gather they were glad to get rid of it, as there was an overcrowding of similar albums in their shelves. It has been an album that has raised eyebrows, evoked some curiosity, but one that has not been copied a lot.
The music is in a style that at times borrows from fuji and at times from apala. While I like the choruses, I am not too impressed by brother Latifu's contribution. The best track, if you ask me, is the title track (B1). In apala style, but not in the same league as the great Alhadji Haruna Ishola. The music never gets off the ground, never really flows.

Leader LRCLS 52

Representing Christian faith is a group with some mystery attached to it. The CD is credited to the Brotherhood Youth Fellowship Choir, but the publisher leaves some doubt if this is indeed the gospel choir which can be heard in these 21 songs. The songs are copied from cassettes bought in 2000, but probably recorded in the 1970s.
This is a capella music in the strictest sense of the word, so no instruments and as in a church (i.e. "a capella"). The titles are largely unknown or have been added by the publisher.

I can only agree with the producers of this CD that this is music worth preserving. The chorusses are simply wonderful, if not heavenly. I just love the harmonies in these songs and the great variation in combining the very individual voices. There is a lot to be discovered, even after repeated listening. While the joy of these great singers oozes out of music, this is a compilation that rises above the religious content or the religiousness of its lyrics.
"Music from heaven"? If there is such a place I wouldn't mind hearing this music there!

Sound Museum SOMU 5

PS: I hope you have noticed there is an extra festive soundstream at the bottom of the blog page....

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....

Cure

To me these last few weeks have been very demanding. I am not a winter person, and have a strong tendency to feel culturally alienated when the whole of the Netherlands is in the grip of such - to me abhorrent and trauma-provoking - activities as skating. On ice, that is. I have been in various stages of cocooning, cut off from most public media with their constant incitement to partake in the winter 'fun', avoiding the mass hysteria and manic social derangement that went on in the freezing towns and villages of these usually moderate regions.

As an added bonus I was forced to play nurse, errand boy and cook to both wife and child as they, as a result of their involuntary participation in the same winter merrymaking, were knocked out with a sobering attack of the flu.

So I have resorted to a certified cure. To all ailments of the spirit and the soul. The positive energy of the immortal master of apala music, Haruna Ishola and his group. From the days prior to his visit to the holy place, it appears (no "Alhaji"). And although in the last part of side B there is mention of a "detention" (and this linked to the future Alhaji himself!!) I am convinced it must have all been a very unfortunate misunderstanding, and must have ended with the magistrates and police officers involved offering their humblest and sincerest apologies to the aggrieved but forgiving Baba Ngani.

Perhaps not the best quality record 'vinyl-wise', but good enough to help me through these rough winter times and to get me in the right mental mood for spring...

SRPS 21, 1975

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)

In the 60s

A few years ago I expressed (in this post) my preference for the more 'profane' work of Nigerian juju star Ebenezer Obey. "Profane" in the original sense that is, i.e. "not belonging to a church or religion".

On closer inspection, I have to take back what I wrote.

In fact there are, in my opinion, no better songs in Obey's extensive repertoire than the godfearing tracks collected on this album "Ebenezer Obey in the 60's".
This has been one of favourite juju albums (if not THE favourite) for over 25 years. And in all this time its shine has not diminished. On the contrary, the lp has only grown in stature, as a monument to the early work of the now chief commander.

Unlike the majority of juju music albums this lp does not contain two medleys, but a total of twelve short tracks. Among these there are several that, as far as I am concerned, can compete with the best tracks from the sixties by pan-african superstars like Franco and Kabasellé.
To me the very best of these is the concise but heavenly "Ori Bayemi". I get tears in my eyes every time I listen to this stupefyingly beautiful song. Obey manages to cram all of the good bits of juju music into less than three minutes, including - in order of appearance - some eternal guitar chords, very casual sounding but for exactly this reason brilliant lead and chorus interplay and a 'get down & shake it' drums bit.

The whole of the A-side is in fact of a surreal wonderfulness. "Ope Fun Oluwa" and "Gbe Bemi Oluwa", both songs filled to the brim with Jesus and Our Lord (Oluwa), offer stiff competition to "Ori Bayemi", with the rootsy (okay, you can shoot me now) "Ope Fun Oluwa" very close, if only for the great rhythm.

The only hint of profanity is in "Pauline", a song with sensual guitar balanced against manly vocals and chest-beating drums.

On the B-side there are some surprising jewels. Like "Edumare Lon Pese". After the opening notes I almost expect Tunde Nightingale to squeak in. I love the guitar in this song.

This lp is the first volume in a series of two. But if you ask me, the second volume does not get close to this (mono!!) evergreen of Nigerian - and African - music.

Decca WAP 432 or Decca WAP 432

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.

Hardcore apala

Continuing the series of posts featuring the legacy of the late king of apala music, Alhadji Haruna Ishola, I have dug up a rare example of apala in its rawest form. This lp was recorded in the early 1970s, and not released on his own Star label, but by Phonodisk. Nevertheless* the sound is exceptional.

The first side starts with a rhythm resembling and with the regularity of the ticking of a clock. This not only sets off the 'smoothness' of the interplay between chorus and lead vocalist (the master himself), but also acts as a balance for the almost impetuous talking drum. There is some extensive messaging going on with that talking drum!
After 10'53 the song stops and, seamlessly, a second track commences. This is - in my opinion - the most remarkable track of a very singular album. In the minute before the talking drum resumes its subliminal chat session there is a sense of expectancy, of emptiness, which never ceases to surprise me, - even after having heard the lp uncountable times.

The B-side continues in the same vein, with the same minimalistic arrangment (compared to Haruna Ishola's recordings released on the Star label), but this time with a more jumpy rhythm. My wife - who in this time of the year can not resist going outside to sweep up the leaves (I watch her from behind the window) - commented that the percussion was just like her sweeping. I was tempted to reply that this sweeping is more effective, but was wise enough to keep my mouth shut...

Phonodisk PHA 24

*The studio he and I.K. Dairo started for their Star label was the first 24-track studio in Africa.

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'

Meditative interlude

This time two sides with very different moods by the late king of apala music, Alhadji Haruna Ishola. On side A a more contemplative medley, with the agidigbo adding commas to the subliminal messages of the talking drum, and on side B a slightly perturbing, perhaps even haunted mood - plus a certainly memorable 3D* chorus.

Enough to refresh the mind, before I post some more bala wonders......

Star Records N4

* and why can't a chorus be 3D too?

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.....

Echoes

I thought you might be ready for another spiritual boost by Haruna Ishola and his Apala Group.

I have been using public transport a lot during the past months of snow and other phenomena which I - wishfully perhaps - considered to be nasty memories from the past. And I have found that the at times absurdly prolonged waiting can be reduced considerably by the auditory consumption of some apala music by our revered Alhadji. I haven't been able to make any reliable measurements, but it may even beat the flying of time when having fun!

I am still trying to figure out how this time manipulation works. Of course there is the force of repetition and the highly refined use of syncopation.
And on this album, which I suspect is from the early 1980s, maestro Haruna adds another magical ingredient: echo.

I would advise public transport in the Netherlands to distribute this music to all their passengers, in order to reduce waiting times..........

Star Records SRPS 41

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...

Bisimilai

I have to admit I am not very good with religion. Over the years I have come to the conclusion I am just not the believing, the submissive or the worshipping kind.

But should I ever - for reasons I can not imagine at this moment - get the urge to repent, it is very likely I will turn to Islam.

For one thing, they have better music than the competition.

And with this post I am presenting some very convincing evidence of this thesis. Yes, you have guessed it: it's another album by that master of Apala music, Haruna Ishola. From a time (mid-1970s) when he had not yet, I assume from the absence of the "Alhadji" adjective, done his duty as a muslim to travel to Mecca.

This is another great lp, and again a monument of African music. My favourite part of this record is the part on side B when after about 9 minutes the chorus seems to get disengaged from the lead vocal. It may seem like an imperfection, but it's just the kind of imperfection that makes this music perfect......

SRPS 27