Can someone recommend other artists similar to Fela Kuti for me to buy?

[imported_Gman]

Want to add some good African music to my collection but don't know what to buy. graemlins/conf44.gif

[JMJ]

Femi Kuti......JMJ

[rob gregory]

Peace.

Tony Allen (Fela's drummer)
Ladysmith Black Mambazo (Not exactly similar, but good stuff)

[ December 19, 2003, 04:52 PM: Message edited by: PhoreAyem ]

[Nege]

Osibisa
Manu Dibango
King Sunny Ade

to start

[ December 19, 2003, 04:54 PM: Message edited by: Nege ]

[Drrtynewyork]

yes! tony allen and afrika 77

and ANTIBALAS!

[Jamie 3:26]

The Red,hot and Riot comp is dope.It's a tribute to Fela.

[imported_Gman]

I go to these African parties up here and the music they play is slammin. It doesn't have to be similar to Fela just looking for some good uptempo stuff. If you know a particular album or compilation please mention.


Thanks -G

[And]

Ebenezer Obey
I.K. Dairo
Prince Nico Mbarga

You might want to check out some Fuji Music. One of the sweetest songs I've heard is by Chief Sikiru Ayinde Barrister called "Refined Fuji Garbage"

Some links to help you out GMan

http://www.motherlandnigeria.com/music.html#other_music_info

http://africanmusic.org/alpha.html
http://biochem.chem.nagoya-u.ac.jp/~endo/EAFela.html This one's an discog for Fela
http://www.africaguide.com/country/nigeria/music.htm

Hee, hee .. Just exercising some Nigerian pride up in this piece. Happy listening. graemlins/grinyes.gif


http://www.derechos.org/img/geo/nigeria.gif

[imported_Gman]

Thanks for the recommendations so far.

[mhd]

tight post, G you are a very lucky guy, africa is a very big place with an infinite variety of music, from cairo to capetown, enjoy your musical journey "home"

[TAD]

gyedu blay ambolley
youssou n'dour
salif keita
marijata
olatunji & the drums of passion
new star orchestra
ligali muikaba
safuratu abebi
k. frimpong & his cubano fiestas
batile alake
boukman experyans

[imported_Gman]

Originally posted by mhd:
tight post, G you are a very lucky guy, africa is a very big place with an infinite variety of music, from cairo to capetown, enjoy your musical journey "home" Exactly the folks who attend these parties are from all over Africa. I did not want to bug the hosts of these parties with lots of track ID's :D so I thought I would start here.

[Mocambo]

Checkout www.afropop.org. (http://www.afropop.org.) Go to the menu, select 'explore' and the select 'artists'. Some of the artist on that site I really like.

[And]

Hey there G-Man, I'm digging this topic so here's probably one of the best box sets of African music I've come across. From this you can probably check out other artists.

http://images.amazon.com/images/P/B0000059T3.01.MZZZZZZZ.jpg

Tracks:

Ndiri Bofu - Oliver Mtukdzi
Kipenda - Remmy Ongala *
Rokoto Frenzy [Excerpt] - Abdul Tee Jay's Rokoto
Eh Zalahy - Tarika Sammy *
Ngingenwe Emoyeni - Ladysmith Black Mambazo *
Milouda - Bellemou
Heygana - Ali Farka Toure
Kumbusora
Za Ayi Neyi - Les Têtes Brulées
Refined Fuji Garbage [Excerpt] - Dr. Sikiru Ayinde Barrister *
Jino la Pembe - Zuhura Swaleh
Six Mabone - Lulu Masilela
Tsiketa Kuni Barassara - Dulce
Rondomori - Pierre Akendengué *
Mariama - Baaba Maal
Nazingi Maboko *
Allah Ma Diana - Le Zagazougou *
Ngoma Ngairire - Robson Banda
Angola Na Paz - The Mendes Brothers
Ah Ndiya - Oumou Sangare *
Bassama - Abdel Gadir Salim All-Stars *
M'Fono Yami - Papa Wemba
Mhondoro - Thomas Mapfumo & the Blacks Unlimited *
Wonda Wonda
Hassaniya Song for Dancing - Dimi Mint Abba
Tuni Nyamwalo - Kapere Jazz Band
Saï - Kanda Bongo Man
Sawura Wako - Stella Chiweshe
Lanaya - Farafina
Nyanafin - Salif Keita *
Fakastalu - Youssou N'Dour *
Worio Wata
Baba l'Rouami
Agor - Martin K. Obeng *
Omo Mbo/Omo Lere Aiye/Ha Egbe Mi Wo Asia [Medley]
Wed Today Divorce Tomorrow
Bayeza - The Soul Brothers *
Rosine - Aurlus Mabele
Mariquinha - Bonga Kuenda *

Hee, hee .. If you'd like I can burn the cds for you. Oh the stars are for some of my faves off the album.

[john]

G-man, If you want good african music you must check soukos-music from Congo-Kingshasa, very rytmic, many times with lots of beautiful guitars.

listen to artists like
Les Quatre Etoiles (4 Etoiles)

A great song with typical sound is kasongo by orchestra super mazembe

[imported_Gman]

Originally posted by 6 23:
Hey there G-Man, I'm digging this topic so here's probably one of the best box sets of African music I've come across. From this you can probably check out other artists.

http://images.amazon.com/images/P/B0000059T3.01.MZZZZZZZ.jpg

Tracks:

Ndiri Bofu - Oliver Mtukdzi
Kipenda - Remmy Ongala *
Rokoto Frenzy [Excerpt] - Abdul Tee Jay's Rokoto
Eh Zalahy - Tarika Sammy *
Ngingenwe Emoyeni - Ladysmith Black Mambazo *
Milouda - Bellemou
Heygana - Ali Farka Toure
Kumbusora
Za Ayi Neyi - Les Têtes Brulées
Refined Fuji Garbage [Excerpt] - Dr. Sikiru Ayinde Barrister *
Jino la Pembe - Zuhura Swaleh
Six Mabone - Lulu Masilela
Tsiketa Kuni Barassara - Dulce
Rondomori - Pierre Akendengué *
Mariama - Baaba Maal
Nazingi Maboko *
Allah Ma Diana - Le Zagazougou *
Ngoma Ngairire - Robson Banda
Angola Na Paz - The Mendes Brothers
Ah Ndiya - Oumou Sangare *
Bassama - Abdel Gadir Salim All-Stars *
M'Fono Yami - Papa Wemba
Mhondoro - Thomas Mapfumo & the Blacks Unlimited *
Wonda Wonda
Hassaniya Song for Dancing - Dimi Mint Abba
Tuni Nyamwalo - Kapere Jazz Band
Saï - Kanda Bongo Man
Sawura Wako - Stella Chiweshe
Lanaya - Farafina
Nyanafin - Salif Keita *
Fakastalu - Youssou N'Dour *
Worio Wata
Baba l'Rouami
Agor - Martin K. Obeng *
Omo Mbo/Omo Lere Aiye/Ha Egbe Mi Wo Asia [Medley]
Wed Today Divorce Tomorrow
Bayeza - The Soul Brothers *
Rosine - Aurlus Mabele
Mariquinha - Bonga Kuenda *

Hee, hee .. If you'd like I can burn the cds for you. Oh the stars are for some of my faves off the album. Thank you graemlins/remybussi.gif . I will see if I can find the Cd on the web somewhere that I can purchase it.

[ December 19, 2003, 05:54 PM: Message edited by: Gman ]

[imported_Gman]

Originally posted by Silhouette:
Checkout www.afropop.org. (http://www.afropop.org.) Go to the menu, select 'explore' and the select 'artists'. Some of the artist on that site I really like. Nice site thanks.

[JoeB]

Originally posted by Cosmic T:
salif keita
can't get enough of this guy. here is a live performance of him, Gman in case you are interested.

Salif Keita Live (http://atlantis2.oleane.net:1080/ramgen/jazzavienne/partie-2.rm)

[sammyrock]

Antibales smile.gif

[DEEPHOUSEHEAD]

Check out www.live365.com (http://www.live365.com)

You will be able to listen to MANY radio stations,directly from various African countries,playing exactly what you are searching for.
Good thing about it is,most of the stations,also list song,artist,label,etc info,while track is playing.

Does'nt stop with African stations either.
They stream broadcasts from across the world there.

[DEEPHOUSEHEAD]

I'm listening to station # 7 on this list right now (yes they also list all info for the tracks they play).


But as I said,only a part of whats on www.live365.com (http://www.live365.com)

Feels good hearing others,in our scene into this style.

If your into various African styles of Music G,I'm sure you'll be into various C smile.gif arribean styles as well.




5. ZOUKSTATION LOVE 24/7 world, reggae, international jamaic_ FM
32k


100% DJs Zouk Mixs from all over the planet : http://www.zoukstation.com
[Editor's pick]


100% Zouk Albums 24h/24 : http://www.zoukstation.com

7. Makossa Jukebox world, folk, other kossanr100 FM
32k

100% Cameroonian ethnic music: makossa, bikutsi, manganbeu, assiko and other freestyles.


9. Sauti Ya Ingoo! world, dance, international ungadi FM
56k
Soukous, African Music, Franco Luambo, Koffi Olomide, Madilu System, Aurlus Mabele, Tabu Ley Rochereau, Pepe Kalle, Nyboma Mw...



11. Best of Putumayo world, international, folk mhellman AM
24k



Best of Putumayo - Favorites from the Putumayo World Music label. Tracks from each compilation plus songs from featured artists.
[Editor's pick]

12. AFROSTATION 24h/24 world, international, other afrostation FM
32k


200% Megamix of Ndombolo, Soukouss, Mapouka, Afrozouk and other african styles 24/7 - Koffi Olomide, Extra Musica, Magic Syst...

13. ZOUKSTATION RETRO 24/7 world, reggae, international dj_by FM
32k
Tous les tubes zouk et zouk rétro des années 1980 à 1999

14. African Connection world, international, pop potjie FM
56k



Upbeat, eclectic mix from all over Africa, with heavy southern African rotation.

15. AfricanMusicKapoRadio world, international, latin gitras FM
32k



17. OduaRadio music to ... to, international, world sadebowale FM
56k

100% African music and cultural broadcast

20.
Africans Roots reggae 1st_in_paris FM
32k


21.
AFRICAN WORLD

[DEEPHOUSEHEAD]

AFRICA = SUNSHINE

JUST LISTEN

[mhd]

dhh, great link,i was thinking the same thing, G would love some zouk

[Ron la Rock]

Angelic Kidjo****

her stuff is pretty bangin as well

[Brian]

not similar to fela kuti per se but i like a lot of baaba maal's music

http://www.palmpictures.com/artists/baabamaal.html

[Ron la Rock]

Originally posted by JoeB:
</font><blockquote>quote:</font><hr />Originally posted by Cosmic T:
salif keita
can't get enough of this guy. here is a live performance of him, Gman in case you are interested.

Salif Keita Live (http://atlantis2.oleane.net:1080/ramgen/jazzavienne/partie-2.rm) </font>[/QUOTE]thats the older brother wit no eyebrows
wild looking but a great singer
he's the singer on the JOE ZAWINUL cut
"bimoya"

also check the CD "MY PEOPLE" from JOE
that this track is from great 4 the house or car
G

(paizley)
graemlins/cool_shades.gif

[altrrdst8]

beki m`seliku

[altrrdst8]

http://www.cdandlp.com/listing/2/0-1514-0/0_1_Afro_Jazz___Afro_Funk___Fusion_Antilles.html

[DJ Michael Terzian (Sinister)]

1. Antibalas Afrobeat Orchestra
2. Femi Kuti
3. Tony Allenko (or simply Tony Allen)
4. Boukman Eksperyans (not "experyans", as previously mentioned). Jephte Guillaume has worked alot with this Haitian group.
5. Oumou Sangare
6. Hugh Masekela
7. Babatunde Olatunji

[liL Ray]

</font><blockquote>quote:</font><hr />Originally posted by JoeB:

Originally posted by Cosmic T:
[qb] salif keita
can't get enough of this guy. </font>he is SLAMMING!!! I'm trying to find two 12" of "Madan" in NYC....anybody know what record store still has this?

[imported_Gman]

Originally posted by DEEPHOUSEHEAD:
I'm listening to station # 7 on this list right now (yes they also list all info for the tracks they play).


But as I said,only a part of whats on www.live365.com (http://www.live365.com)

Feels good hearing others,in our scene into this style.

If your into various African styles of Music G,I'm sure you'll be into various C smile.gif arribean styles as well.




5. ZOUKSTATION LOVE 24/7 world, reggae, international jamaic_ FM
32k


100% DJs Zouk Mixs from all over the planet : http://www.zoukstation.com
[Editor's pick]


100% Zouk Albums 24h/24 : http://www.zoukstation.com

7. Makossa Jukebox world, folk, other kossanr100 FM
32k

100% Cameroonian ethnic music: makossa, bikutsi, manganbeu, assiko and other freestyles.


9. Sauti Ya Ingoo! world, dance, international ungadi FM
56k
Soukous, African Music, Franco Luambo, Koffi Olomide, Madilu System, Aurlus Mabele, Tabu Ley Rochereau, Pepe Kalle, Nyboma Mw...



11. Best of Putumayo world, international, folk mhellman AM
24k



Best of Putumayo - Favorites from the Putumayo World Music label. Tracks from each compilation plus songs from featured artists.
[Editor's pick]

12. AFROSTATION 24h/24 world, international, other afrostation FM
32k


200% Megamix of Ndombolo, Soukouss, Mapouka, Afrozouk and other african styles 24/7 - Koffi Olomide, Extra Musica, Magic Syst...

13. ZOUKSTATION RETRO 24/7 world, reggae, international dj_by FM
32k
Tous les tubes zouk et zouk rétro des années 1980 à 1999

14. African Connection world, international, pop potjie FM
56k



Upbeat, eclectic mix from all over Africa, with heavy southern African rotation.

15. AfricanMusicKapoRadio world, international, latin gitras FM
32k



17. OduaRadio music to ... to, international, world sadebowale FM
56k

100% African music and cultural broadcast

20.
Africans Roots reggae 1st_in_paris FM
32k


21.
AFRICAN WORLD Checking out some of these stations this morning. Thanks.

-G

[TAC]

Hey G, everything above is all over the place. Go here =&gt;World Music (http://www.allmusic.com/cg/amg.dll?p=amg&sql=F0WORLD)&lt;=, which is a sub area of here =&gt;All Music Guide (http://www.allmusic.com/)&lt;=, for a centralized place to come up to speed real quickly.

I have found the Allmusic site to be very an invaluable tool when looking to initially learn about specific music genras (sp?). From here, you can do specific searches on invididual artists to get even deeper into their person's music.

Note, to hear sound bites, click on the "buy now" feature, which will then take you a purchase site. You will then have sound bites to the music for a specific CD. Naturally, you don't have to buy the Cd, but you can at least learn what the music sounds like.

Peace
TAC

[dj_wubwub]

This is my first post to this forum.
I have most of Olatunji records is my collection and "Drums of Passion" is a record everyone should have.It is very traditional stuff.
If it's afro funk you are after I bought this compilation recently and it's hot
http://www.tigersushi.com/site/frameset.jsp?page=Rcd.jsp&RcdId=1892
it is filled with rare Afro funk.You also can't go past Manu Dibango "Soul Makossa"lp If people can't dance to New Bell they must have a problem.
On a different Morrocan Trance vibe. Gnawa "night spirit master" on Axiom is a record that is pure morrocan trance that will take you to some interesting places.

[Fletch]

G,

If bassist Bakithi Kamalo ever comes to your hometown, don't even question it!!!!!! Just go!!!!!!!

[mhd]

Originally posted by dj_wubwub:
This is my first post to this forum.
I have most of Olatunji records is my collection and "Drums of Passion" is a record everyone should have.It is very traditional stuff.
If it's afro funk you are after I bought this compilation recently and it's hot
http://www.tigersushi.com/site/frameset.jsp?page=Rcd.jsp&RcdId=1892
it is filled with rare Afro funk.You also can't go past Manu Dibango "Soul Makossa"lp If people can't dance to New Bell they must have a problem.
On a different Morrocan Trance vibe. Gnawa "night spirit master" on Axiom is a record that is pure morrocan trance that will take you to some interesting places. tight post, gotta agree with you, the morrocan vibe is off the chains

[mhd]

Originally posted by dj_wubwub:
This is my first post to this forum.
I have most of Olatunji records is my collection and "Drums of Passion" is a record everyone should have.It is very traditional stuff.
If it's afro funk you are after I bought this compilation recently and it's hot
http://www.tigersushi.com/site/frameset.jsp?page=Rcd.jsp&RcdId=1892
it is filled with rare Afro funk.You also can't go past Manu Dibango "Soul Makossa"lp If people can't dance to New Bell they must have a problem.
On a different Morrocan Trance vibe. Gnawa "night spirit master" on Axiom is a record that is pure morrocan trance that will take you to some interesting places. tight post, gotta agree with you, the morrocan vibe is off the chains

[TAC]

Originally posted by mhd:
</font><blockquote>quote:</font><hr />Originally posted by dj_wubwub:
This is my first post to this forum.
I have most of Olatunji records is my collection and "Drums of Passion" is a record everyone should have.It is very traditional stuff.
If it's afro funk you are after I bought this compilation recently and it's hot
http://www.tigersushi.com/site/frameset.jsp?page=Rcd.jsp&RcdId=1892
it is filled with rare Afro funk.You also can't go past Manu Dibango "Soul Makossa"lp If people can't dance to New Bell they must have a problem.
On a different Morrocan Trance vibe. Gnawa "night spirit master" on Axiom is a record that is pure morrocan trance that will take you to some interesting places. tight post, gotta agree with you, the morrocan vibe is off the chains </font>[/QUOTE]This is a tight album G. There is a companion to this. I will check my crates, and let you know about the rest.

Peace
TAC

[dj_wubwub]

tight post, gotta agree with you, the morrocan vibe is off the chains [/QB]Thanks for the compliment. I picked the CD up years ago after watching a doco on the Gnawa rituals,It's a Morrocan voodoo type thing but the Gnawas origins are in Ghana.For more info on the gnawa check

http://www.ibiblio.org/gnawastories/

I rembember first putting that cd on a just lying back and being taken somewhere. The basslines are intense the vocals are haunting, I can't say much more about it but feel it for yourselves.

[ December 20, 2003, 11:56 AM: Message edited by: dj_wubwub ]

[mhd]

Originally posted by dj_wubwub:
</font><blockquote>quote:</font><hr />tight post, gotta agree with you, the morrocan vibe is off the chains Thanks for the compliment. I picked the CD up years ago after watching a doco on the Gnawa rituals,It's a Morrocan voodoo type thing but the Gnawas origins are in Ghana.For more info on the gnawa check

http://www.ibiblio.org/gnawastories/

I rembember first putting that cd on a just lying back and being taken somewhere. The basslines are intense the vocals are haunting, I can't say much more about it but feel it for yourselves. [/QB]</font>[/QUOTE]no doubt, great link, and welcome to the board

[imported_Gman]

Originally posted by dj_wubwub:
This is my first post to this forum.
I have most of Olatunji records is my collection and "Drums of Passion" is a record everyone should have.It is very traditional stuff.
If it's afro funk you are after I bought this compilation recently and it's hot
http://www.tigersushi.com/site/frameset.jsp?page=Rcd.jsp&RcdId=1892
it is filled with rare Afro funk.You also can't go past Manu Dibango "Soul Makossa"lp If people can't dance to New Bell they must have a problem.
On a different Morrocan Trance vibe. Gnawa "night spirit master" on Axiom is a record that is pure morrocan trance that will take you to some interesting places. Welome http://deephousepage.com/smilies/xyxwave.gif

[TAD]

Originally posted by liL Ray:
</font><blockquote>quote:</font><hr />
</font><blockquote>quote:</font><hr />Originally posted by JoeB:

Originally posted by Cosmic T:
[qb] salif keita
can't get enough of this guy. </font>he is SLAMMING!!! I'm trying to find two 12" of "Madan" in NYC....anybody know what record store still has this? </font>[/QUOTE]ray check your pm's

[Skip Intro]

Oneness of Juju .

[dj_wubwub]

To the G-man and those who have contributed to this site it is awesome and I appreciate the knowledge and the history that has gone into this site.The mixes are especially exciting to me as they inspire me as a DJ.
I am really diggin the early mixes Knuckles,Ron Hardy,Levan etc as they are musically diverse in there sets.It seems now mnay commercial Dj's are almost forced to play a limited set of some sub genre ( deep tech house etc).That's what I liked about the earlier times where Ce Ce Roger's "someday" and "Acid Tracks" by Phuture could be heard in the same night.
Anyway enough of my raving back to where it all began Africa
Mory Kante-Ye ke Ye ke is also a classic that was a big tune in the clubs in the late 80's.On a more mellow afro/latin vibe Mulatu from Ethiopia put out 2lps that are sought out by collectors and OG's usually go for big money.He is a vibes player who studied latin jazz and brought the two cultures together They are pretty sweet lp's. Re-issues are available at dustygroove.com or
http://www.midheaven.com/artists/mulatu.of.ethiopia.html
As far as African drumming goes check out the Djembe Fola video
http://www.amazon.com/exec/obidos/tg/detail/-/6303091857/002-8437108-0272821?v=glance
It is a documentary about master drummer Mamady Keita who returns to his village in Senegal after 20 years living and performing in France. It has some of the most mind blowing party scenes and the dancing and drumming in it is sublime.
Anyway I have raved too much

[ December 20, 2003, 09:09 PM: Message edited by: dj_wubwub ]

[DEEPHOUSEHEAD]

Originally posted by TAC:
Hey G, everything above is all over the place. Go here =&gt;World Music (http://www.allmusic.com/cg/amg.dll?p=amg&sql=F0WORLD)&lt;=, which is a sub area of here =&gt;All Music Guide (http://www.allmusic.com/)&lt;=, for a centralized place to come up to speed real quickly.

I have found the Allmusic site to be very an invaluable tool when looking to initially learn about specific music genras (sp?). From here, you can do specific searches on invididual artists to get even deeper into their person's music.

Note, to hear sound bites, click on the "buy now" feature, which will then take you a purchase site. You will then have sound bites to the music for a specific CD. Naturally, you don't have to buy the Cd, but you can at least learn what the music sounds like.

Peace
TAC Not sure what you mean by "all over the place" ?

If you hav'ent checked out,www.live365.com
then you don't know what your missing.

If your looking for Music from Africa,
This station (written here below) on www.live365.com (http://www.live365.com)
is definately on point !(so are many others there)
Makossa Jukebox (world, folk, other kossanr100 FM
100% Cameroonian ethnic music: makossa, bikutsi, manganbeu, assiko and other freestyles).

If you're not familiar with how to find a station on that site,then just simply enter station,or style name into their search box.

Hope you enjoy as much as I do G.

[C hristian]

eat your heart out....


SENEGAL
Senegal, and its well-developed music industry, have produced some of the most globally successful African bands and artists. Their exploration of contemporary sounds have been balanced with the incorporation of traditional local instrumentaion such as the Wolof sabarand tamadrums, and Mandinka kora. The independence year of 1960 marked a historically important year for Senegal's musical development. Kinshasa band Ryco Jazz toured, showcasing their strong Zairean rumba influence to a country that had long loved the Cuban son, charangaand rumbasounds of bands like Orchestra Aragaon and Johnny Pacheco. In August of 1960, Ibra Kasseformed the Star Band du Dakarwith singers Labah Sossehand Pape Seck. Star Band launched the careers of many Senegalese musicians and fathered a number of musical offspring including Star Number One(which became Orchestra Number One and Number One de Senegal), Etoile 2000, Orchestra Baobab, and Etoile de Dakar.
Orchestra Baobab, which formed in 1970, represented in its early stages the older, slow, rumba sounds which were to give way to the more modern energetic rhythms of mbalax. The band at various times featured such vocalists as Thione Seck, Balla Sidibeand Rodolphe Gomisas well as the unique guitar work of Barthelem Attiso, and combined Wolof, Mandinka, Guinea Bissau, and Spanish influences. While later evolutions of the band turned to a more tama-oriented mbalax sound, such recordings as the "Legendary 1982 Session" of Pirates Choicefeature the timeless, sweet rumba side of Baobab. In the early 1990's Baobab/Star survivors Medoune Dialloand Pape Seckteamed up with Senegalese super producer Ibrahim Syllaand a battery of Cuban and Puerto Rican greats to pay hommage to the Latin-African fusion. This recording studio creation, Africando, produced several exceptional recordings for the Stern's label. Sylla himself deserves mention as Africa's number producer who has worked with a pan-African collection of stars from Mali and Senegal to Cameroon and Zaire.

But it is mbalaxwhich defines the contemporary Senegalese musical signature. Another Star child, Etoile de Dakar, was the first official band of a young Wolof singer destined to became Senegal's major superstar. Youssou N'Dourhad a professional reputation as "Le Petit Prince de Dakar" by his early teens and made his first recording session, at the age of 19, with the Star Band in 1978. The following year he broke off with some members of the group to form Etoile de Dakar. When N' Dour moved to Paris, he reorganized the band as Super Etoile. N'Dour helped to create, develop and promote mbalax, a Wolof-dominated style that incorporates traditional rhythms of the sabar and bugarabu drums, as well as the "talking drum" bursts of the tama. N'Dour has continued to forge ahead, bringing in more Western elements but never losing his mbalax roots. In recent years he has also formed a recording and production studio (Xippi or "Eyes Open") in Dakar, which has been used by such other musical notables as Senegal's foremost female vocalist, griot- descendent Kine Lam.
Other important progenitors of mblax included Super Diamonowhich began in 1975 with singer Omar Peneand guitarist Ismael Lo. Lo left the band in 1984 and went on to solo success. Other major groups of the 1970's and 1980's include Le Xalam, who blended folkloric music with contemporary jazz and rock, and Toure Kundawho hailed from the southern Casamance province and created an Afro-rock fusion with a mix of Soninke ("toure" means family in Soninke), Mandinke, Peul, Diolla, Wolof and Portugese Creole vocals. While much of Senegelese music has been dominated by the Wolof majority, singer Baaba Maalhas been a champion of the Pulaar (Fulani) speaking Toucouleur people of northern Senegal. Maal abandoned law school studies in favor of music, and has used his art as a platform for his intellectual and social causes. His guitarist and friend, Mansour Seck, has helped define his succesful style. Long-term artists as well as newer arrivals continue to explore both traditional and contemporary sounds as well as mixtures of the two. A Senegalese rap style called tassouhas become popular and a new group who rap in Wolof and French, Positive Black Force, released a 1996 CD for the U.S.based Mango label. Whether at home or abroad, it is certain that Senegalese artists will continue to be an important presence in defining the directions and possibilities that await Afro-pop.


NIGERIA
Chief, Commander, Cardinal, King, Prince, Doctor, and knighted Sir have been some of the titles, both real and assumed, adorning artists who have made their mark on Nigerianmusic. The major genres of Nigerian music are the Ibo-dominated highlife, and the Yoruban jujuand fujibut other varieties proliferate from traditional Hausa court drumming to the funky hybrid sounds of Afro-beat.
Yorubamusic has nurtured a powerful legacy with its unique drumming rhythms and call and response vocals. The Yoruba language, music and pantheon of deities have been kept alive from such Nigerian kingdoms of origin as Ife and Oyo, through the diasporan cultures of Brazil, Cuba, and Haiti. In the development of juju, identified through its trademark combination of talking drum and Hawaiian-style guitar, such traditional Yoruba musical styles as agigdigbo, were, apala, sakaraand wakawere incorporated. Juju music dates back to the late 19th century, and the term "juju", as referring to this Yoruba-style music, was supposably coined in the late 1920's by Babatunde Kingwho added in elements of ashikomusic. The 1930's fueled the transition from a palm wine-guitarbase to a more distinctly Lagos variety of music. By the 1940's juju had added talking drumto create a distinct sound, and had its first star with the palm wine singer Tunde Nightingale. I.K. Dairohelped to modernize and refine juju in the 1950's by introducing new elements like the accordion. Dairo formed his Morning Star Orchestra in 1957, and by 1960 when he renamed it the Blue Spots, he was a juju sensation earning even more fans during his performances at 1960 independence celebrations in Ibadan. By the mid-1960's he had formed his own Star Records label, and was producing a steady stream of hits. In 1963 he was decorated as a Master of the British Empire (the only African artist to ever receive this title). Even following the disbandment of his group in the late '60's, I.K. Dairo, MBE continued a lengthy and prodigious career, releasing albums up until his death in late 1995.

In the early sixties, other juju artists began to appear who would helped shape the music for years to come. Chief Commander Ebenezer Obeycut his first record in 1963, and was followed shortly on the scene by his main rival, King Sunny Ade, who released his first album in 1967. For decades these two imposing figures battled it out over the juju throne, and Ade seemed to have gained ascendency when he was signed to Island records in 1982. Following the success of reggae singer Bob Marley, Island was open to incorporating other world artists into its roster, and in the early 1980's Nigerian music and especially King Sunny Ade enjoyed an unprecedented international limelight. However, this was short-lived, and Island soon dropped the King. While denied global hommage, Ade continued to reign at home, winning the Nigerian music industry's Grand Star Award in 1992. In attempting to maintain his international career, Ade appeared to have fallen into the maelstrom of the American and European music business which tends to bat around African artists rather than promote them. Fortunately for his American-based fans, King Sunny Ade returned triumphant to the commercial marketplace in 1995 with the release of the artistically sound E Dide- Get Up.
Other stars of juju music include Segun Adewaleand Shina Peterswho formed Shina Adewale in 1977. After three years, the two singers went on to separate careers, and Peters, acquiring a Sir along the way, launched his own brand of "Afro-juju". Sir Shina Peters sparked a youth craze called Shina Mania, igniting fans with his incendiary style of juju.
While Obey and Ade were attracting attention overseas, fujimusic was becoming big at home. Fuji fused traditional rhythms such as apala, sakara, and wakainto a new spare, multi-percussion based mix. But fuji is more than juju sans guitars. It has its own distinct sound and culture, much of it centered through the Muslim Yoruba tradition. Its main proponent and founder is Chief Dr. Alhadji Sikiru Ayinde Barrister, who began his career singing Muslim wereas a child.. Barrister named fuji after Japan's "mountain of love" and demonstrated the fuji experience with such hits as the 1980's "Fuji Garbage". After Barrister, fuji favorites include Ayinla Kollingtonand Adewale Ayuba. Younger fuji stars on their way up are Abass Akande Obasereand the Ibo artist Sunny Tua(aka Sunny T.). Another singer of the Muslim Yoruba tradition who should be noted is Haruna Ishola(1918-1983) whose hundreds of recordings preserve his reputation as the "King of Apala".
Juju and fuji are predominantly Yoruba-dominated, and highlifemusic is mostly the domain of Ibo(or Igbo) musicians. The Ibo palm wine guitar tradition adapted easily to the guitar highlife influence coming from Ghana. The first major Nigerian highlife star was Bobby Benson, who formed his first band in Lagos in 1947. Following ET Mensah's seminal 1951 Nigerian tour, Benson turned his ensemble to highlife and created such classic songs as "Taxi Driver". He was elected the first president of the Nigerian Musicians Union, formed in the independence year of 1960, and continued active in music until his death in 1983.
Other major highlife names who began their careers in the 1950's were "Cardinal" Rex Lawsonand Chief Stephen Osita Osadebe. Lawson, who was born to a Kalabari father and an Ibo mother could sing in all the major Nigerian languages, and scored one of his biggest hits with the Yoruba-sung "Sawale". When he died suddenly in 1976, he was still at the peak of his fame. Osadebe preferred a more solidly Ibo highlife and his songs pay tribute to Ibo social clubs and leaders. In the 1960's guitarist Sir Victor Uwaifoappeared on the scene with an individualized guitar-band style inspired by palm wine music and traditional sources like ekassaand gdadagbada. Uwaifo, who comes from the central area Benin City, sung in Ibo and Pidgin and achieved his first hit with "Joromi"which sold over 100,000 copies in 1969. A veteran of Uwaifo's band, Sonny Okosun, went on to achieve prominence in the 1970's and 1980's with an Afro-rock-highlife-reggae fusion which he called Ozzid after an Ijaw god. Okosun's biggest release was the 1978 hit "Fire In Soweto".
Sadly the 1960's were most marked by the Nigerian civil war. Sparked by the Ibos attempt to form the Republic of Biafra by declaring the Eastern region independent, this devastating conflict lasted from 1966-1970. One of its consequences was the dissolution of highlife music, as Ibo musicians left the western-based city of Lagos. Yoruba juju, (with musicians like Dairo, Obey and Ade), quickly filled the gap, and highlife became mostly centered in eastern Nigeria. 1970's highlife stars who survived included Osadebe, Oliver de Coque, Celestine Ukiwo, Dr. Ganjah Owohand the Oriental Brothers. The Oriental Brothers, so named because they hailed from the eastern town of Owerri, were formed in the early 1970's by three brothers. Following a split in 1980, the group continued on under the monniker Dr. Sir Warrior and the Original Oriental Brothers, and other factions survived as well.
The big news in 1970's Nigerian highlife history, and one of the most phenomenal success stories in African music as a whole, was the release of Prince Nico Mbargaand Rocafil Jazz's 1976 mega-hit "Sweet Mother". This heartfelt tribute of a son's affection and gratitude sold an amazing 13 million copies and its mix of Nigerian highlife, Cameroonian ashiko, and Zairean rumba managed to please just about everyone on the entire continent of Africa, as well as African music fans abroad. Prince Nico, the son of a Cameroonian father and a Nigerian mother, sung his maternal paean in Pidgin English and its sweet melody and recognizable lyrics continue to register as a favorite at dance clubs and parties today. (Zaire's Soukous Stars remade the song into a megamix medley with "Lagos Night"). Nico himself described his musical creation as "panko"which he explained as, "Zairean music in a Nigerian setting."
On a completely different spectrum, the 1970's saw the emergence of Nigeria's number one provocateur and musical gadfly, Fela Anikulapo Kuti. Nigeria's most controversial musician was born into a prominent Yoruba family in 1938. A visit to America in the late 1960's helped to ferment his political consciousness and upon his return home he formed Afro 70and began pumping out his unique brand of firebrand lyrics, free jazz saxophone riffs, 15 minute instrumental grooves, and the funky African musical hybrid he dubbed "Afro-beat". Songs such as "Expensive Shit", "Zombie", "Sorrow, Tears and Blood", and "ITT" (International Thief Thief) which attacked such targets as corrupt politicians, hypocritical businessmen, and societal suffering earned him the enmity of authorites. Fela's complete rejection of governmental authority through the establishment of his "Kalakuta Republic" in the Surulere suburb of Lagos, and flagrant marijuana use were other challenges to the establishment, and the government unleashed a series of attacks on Fela, his family and property. Through Nigeria's various regimes Fela has maintained his adverserial stance and continued to face consequences. His son Femi Kuti, has taken over the mantle as sax player and bandleader with his seventeen-piece band Positive Force.


GHANA
Highlifeinstantly connotes Ghana's popular music, but this upbeat, horn-inflected sound has had a long evolution since its 1920's beginnings. When large dance orchestras of this period, like the Jazz Kings, Cape Coast Sugar Babiesand Accra Orchestrabegan playing at swank dance clubs along the West Coast, the term highlife reflected not only the style of music, but the lifestyle of its patrons. As E.T. Mensah's brother Yebuah related to writer John Collins: "The people outside (the clubs) called it highlife as they did not reach the class of the couples going inside who not only had to pay a relatively high entrance fee of about seven shillings and sixpence, but also had to wear full evening dress, including top hats if they could afford it." Highlife mixed into the blend of European foxtrots and Caribbean kaiso, such indigenous rhythms as osibisaba(Fante), ashiko(Sierra Leone), dagomba(Liberian guitar style). and gombe(from Sierre Leone via Jamaican Maroons). This rich melange became known as "highlife", and the highlife of the 1920's itself fostered two main hybrids: dance band highlifewhich continued its association with the urban elite, and guitar band highlifewhich was more popular among the common people and in rural areas.
The man chiefly associated with the rise of dance band highlife was saxophonist, trumpeter and bandleader ET (Emmanel Tettey) Mensah. The "King of Highlife" as he is known was born in Accra and formed his first band in 1930. The orchestras of this period were horn dominated and featured large saxophone sections. By the time that Mensah formed his legendary group the Temposin 1948, the big band style had made way for smaller and sleeker combos. These smaller ensembles were more economically feasible and also more adaptable to the post-war Afro-Cuban style that was catching on throughout Africa. When ET Mensah and the Tempos toured Nigeria in 1951, they ignited the highlife sound there, and also fostered a long musical and musician interchange between the two West African nations. ET Mensah and the Tempos helped to redefine highlife moving it away from its European components to a more fully developed African identity. As Mensah himself said, "We evolved a music type thereafter relying on basic African rhythms . A criss-cross African cultural sound so to speak. No one really can lay claim to its creation. It had always been there entrenched in West African culture. What I did was give highlife world acceptance. " (For more on Mensah and Ghanaian music read the informative Africa Oye!by Graeme Ewens).

Dance band highlife contined to flourish in the 1950's and 1960's in the big cities such as Accra, Cape Coast, and Takoradi with bands like the Ramblers Internationaland Uhuru Dance Band. Lyrics were sung in a variety of languages including Twi, Fante, Ga, Efik, Ibo, Ewe, Hausa, English and Spanish. Mensah achieved another notable milestone in 1956 when he performed with American jazz trumpet maestro Louis Armstrong in a concert which captured some of the celebratory mood Ghana would experience a year later as (under leader Kwame Nkrumah) it became the first sub-Saharan African nation to achieve independence. Nkrumah financially and symbolically supported highlife as an icon of Ghana's cultural identity, and would often bring a highlife band with him on state visits. Mensah himself accompanied Nkrumah overseas many times, earning another title as the "Musical Ambassador of Ghana". However, the dance band highlife sound began to fall out of favor during the late 1960's and 1970's perhaps because of its association with the colonial epoch. Mensah had a second career as a pharmacist to support his family through times of semi-retirement, but he contined to be recognized for his musical contributions and was formally honored by the government in 1989.
Alongside with dance band highlife, another form continued a parallel development. Guitar band highlife had also been evolving since the 1920's where it was popular in rural areas, especially among the Asante people. One antecedent of guitar band was palm wine guitarwhich had long been popular among the Akan (who include the Asante and Fante). This guitar-picking style also became popular in Nigeria, Sierra Leone (most notably by the incomparable S.E. Rogie), Liberia and Cameroon. Palm wine guitar became the first style of Ghanaian music to be recorded, when guitarist Kwame Asarecut a record in London in 1926 for the Zonophone label. Asare's nephew Kwaa Mensahbecame famous as a palm wine guitarist in the 1950's, and the current preserver of the tradition is Koo Nimo. As for the Zonophone label, it released a considerable number of guitar band 78's throughout the 1930's and 1940's from such early stars as Kumasi Trio, Kakaiku, K. Gyasi, Alompi's Guitar Band, and Oppong's Band.
A major point in the development of guitar band highlife occurred in the early 1950's when EK Nyameand his Akan Trio combined music and comic theater to produce the genre known as the concert party. Concert parties helped add a veneer of sophistication to the guitar band's "country cousin" image, and Nyame was enormously popular. Singing primarily in the Twi language, he recorded over 400 records (none available outside Ghana),and was awarded a state funeral attended by tens of thousands of fans upon his death in 1977. By 1960, the distinction between dance band and guitar band highlife was marked enough that each style had its own musicians' union. In 1963, guitar band had another redefining moment with the emergence of the African Brothers, formed by guitarist and singer Nana Kwame Ampadu. Kampadu's socially conscious lyrics and ample use of traditional proverbs, as well an an infusion of new musical styles such as reggae, rumba, and the James Brown-inspried Afro-hili, has helped ensure a musical career that continues strong today. Another guitar band favorite popular for the last 25 years is the charismatic guitarist and perfomer Alex Konadu, known as the "One Man Thousand". Other guitar band stars included Dr. K. Gyasiand his Noble Kings whose sikyisound (developed with the assistance of guitarist Eric Agyeman) provided a resurgence of Ashanti rhythms and horn lines, and C.K. Mannwho revitalized the traditional osodebeat.
The 1960's had seen a flourishing of Ghana's record industry with local labels such as Skanophone and Parlophone as well as the presence of multinational giants Decca, EMI and Phillips. But during the 1970's, the major labels pulled out, smaller labels suffered, (with the exception of the state-supported 8-track Ghana Film Studio), and the industry as a whole was impacted by the oil crisis which curtailed the supply of vinyl. In addition, local music suffered as more attention was paid to American imports such as soul and disco. However, the 1970's also saw the birth of several of Ghana's most famous bands. Teddy Oseiwas a multi-instrumentalist studying music in London through a Ghanaian scholarship, when he formed in 1969 the afro-rock band Osibisa. Following their first hit single, "Music for Gong Gong" in 1970, Osibisa became hugely successful in London and throughout the international market appearing everywhere from Japan and India to the 1980 Zimbabwe Independence celebrations.
Back in Ghana at Tema's Talk of the Town Hotel a new band was inaugurated in December, 1973. Sweet Talksincluded A.B. Crentsilon vocals, Smart Nkansah, guitar, and Pope Flynn, vocals. But the band would become a launching pad for the careers of many other Ghanaian musical legends including vocalists Jewel Ackahand Pat Thomas, and guitarist Eric Agyeman. Sweet Talks' first hit was the 1975 "Adam and Eve" which contained the double entendre mix of sacred and profane that would delight listeners with such later hits as Crentsil's "Moses". Following the success of the American-recorded Hollywood Highlife Partyin 1978, the band broke apart, but its various members have continued to forge successful careers as performers and producers. In 1990, Crentsil opened a 16-track studio in Tema which has helped to revitalize Ghana's recording industry.
During the 1980's the Jerry Rawlings-led government initiated several legal reforms to help protect musicians and improve the industry as a whole. The PNDC's cultural revolution of 1982 decentralised the National Arts Council, and the 1985 PNDC Law 110 criminalised copyright infringement. This led to the creations of the Copyright Association of Ghana (COSGA) and also forced the state radio, GBC, to pay royalties to artists for the first time. Internal struggles to combat, or at least control, cassette piracy have continued. Meanwhile, Ghanaian music was enjoying other renaissances in somewhat unlikely locations. The mid-80's saw the boom of a highlife scene in Germany with such artists as George Darko and the Lumba Brothers. While "burgher highlife"was going strong, Pat Thomas was cultivating a scene in Toronto, Canada and other musicians working abroad included Agyeman, Obo Addy, and Kumbi Saleh.
However, things were still cooking in Accra. The 1980's saw the growth in popularity of Jamaican reggae music, and reggae rhythms were easily adaptable to the loping gait of highlife. Singer Amakye Dedehas become a superstar with his reggae-inflected highlife, and other artists pursuing this genre are Kojo Antwiand KK Kabobo. Another musical form becoming integrated into highlife is gospel music. The Genesis Gospel Singers, Carlos Sekyi, Tagoe Sistersand Naana Frimpongare some of the gospel highlife artists enjoying success. And classic highlife itself continues to move forward with newer stars like multi-award winners Western Diamonds Band. With a revitalized musicians' union and increased government support underway, the promise looks bright for Ghana's highlife to grow at home and abroad. Highlife's unlimited musical potential and deep West African roots should appeal to African music lovers world-wide.

[C hristian]

Abidjian, the capital and main commercial center of Côte d'Ivoire, is famous for its cosmopolitan nightlife, urbane ambiance, and sophisticated music industry. Abidjian's recording studios have attracted musicians from across Africa, including Sam Mangwana, Tshala Muana, Moni Bile, and Bibi Dens Tshibayi. But Côte d'Ivoire itself boasts a battery of talented musicians who have found inspiration delving into the country's rich artistic traditions. Music, weaving, textiles, dance, sculpture, and mask-making have all thrived as an essential part of communities, and for centuries the people of Côte d'Ivoire, (who include the Senufo, Dan, Baoule, Beti, Agni, Lobi, Akan, Malinke and Korhogo), have been renowned for their artistic achievements.
The birth of modern Ivoirian music quickly took root following Côte d'Ivoire's independence in 1960 under the leadership of Felix Houphouet-Boigny. In the 1960's, Les Soeurs Comroeignited the music scene with their fast gbegberhythms, a style expanded in the 1970's by Sery Simplice. Simplice was a protegee of Ernesto Djedjewho was crowned in the '70's as "le roi du zglibithy". Djedje brought zglibithy, based on a traditional Bete dance, to the forefront and established it as the trademark rhythm of Côte d'Ivoire. His zglibithy was characterized by dense drums and percussion, spiced with guitars, organ and brass and flavored with Congolese rumba. With hits like "Zibote" and "Aguisse" Djedje was a booster for Ivoirian music, exporting it beyond the borders to Burkina Faso, Togo, and Zaire.

Sery Simplice worked with Djedje in the late 1970's and left in 1978 to establish his own group Les Frères Djatyswhich popularized the rural music of southwestern Côte d'Ivoire. By 1983, a few months prior to Djedje's death, Simplice was crowned on national television as "the king of gbegbe" by his mentor, the king of zglibithy. Simplice was the first Ivoirian artist to incorporate traditionally dressed dancers into his stage performances. While his band wore western dress, he commanded center stage in traditional garments complete with a ceremonial whisk. At a time when many Ivoirians were becoming more interested in western music styles like reggae and funk, Simplice advocated strongly for musicians to concentrate on looking within. Through the seventies and eighties zglibithy gained more adherents with Luckson Padaudand Blissi Tebil, Jimmy Hyacinthetook on goli, and Bailly Spintowas awarded for his tripo. Meanwhile, the music industry as a whole gained respectability and the early '80's saw the genesis of a hit parade chart on national radio and the Belier d'Or, the Ivoirian national music award.
On the other side of the spectrum, Alpha Blondywas working towards becoming an international reggae superstar with the release of such albums as Cocody Rock, Jerusalemand Apartheid is Nazism. Côte d'Ivoire's answer to Miriam Makeba, soprano Aicha Kone(hailed as "La Diva Ivoirienne"), was similarly forging artistic credentials at home and abroad. By the 1990's, Ivoirian pop music was successfully covering a gamut of styles. New roots/neo-traditional rhythms such as zouglouand zoblazowere flourishing via Meiway, and Gnaore Djimihad revised a folkloric girl's dance into the scorching hot rhythms of polihet. Footballer and singer Gadji Celisimultaneously extolled the virtues of soukous and the Ivoirian Elephants soccer team. And Monique Sekascored it big in the dance clubs with her 1995 release Okaman, a sexy, polished tour-de-force of zouk love. Whether recording in Paris or at home, these artists demonstrate that Abidjian still rules as an arbitrator of musical chic and soul.


Makossa, associated primarily with the language, people and cityof Douala, remains Cameroon's most identifiable musical export. This namerecognition dates back to Manu Dibango's 1973 international mega-hit "SoulMakossa"which imprinted the makossa word, if not actually the rhythm onlisteners around the world. Dibango's composition was more a tribute to thana direct representation of makossa, but it familiarized music lovers with thesaxophonist's own signature sound- a smooth groove of jazz, funk, andCameroonian rhythms. Dibango's 1970's recordings remain classics, and thecosmopolitan artist continues to enjoy artistic and commercial success, mostrecently with the outstanding 1994 release Wakafrika. A fellow Cameroonianlegend who defies simple categorization is the multi-talented Francis Bebey;this poet, novelist, journalist, musicologist, guitarist and singer has alsofound creative inspiration through exploring the rich varieties of Cameroon'smusic. Makossa is said to be derived from a children's handclapping game calledkossa, and most Cameroonian music, no matter how electrified, flows straightfrom a traditional source. The stick and bottle sounds of assikoand theguitar-based ambasse bey, popularized by Salle John, represent some of therhythms of the Bassa people. Mangambêu, traditionally a guitar andlikembe flavored music, identifies the Bamileke sound and has beencontemporized by the likes of Tchana Pierreand Pierre DidyTchancountéwho scored a hit in the early 80's with a modernized"Mangamb&ecircu Sophistiqué". From the Yaounde region, the Betipeople's bikoutsihas earned international points with performers such asMessi Martin & Los Camaroesand Les Têtes Brul&eacutees. Ancientindigenous music from the Baka pygmy people of the southeast forests has beenreleased on field recordings as well as sampled into Eurodisco mixes.

New urban rhythms are flourishing as well. These include makozoukwhichmixes makossa with the sensuous, languid rhythms of zouk love. Most newmakossa recordings (especially by Hoigen Ekwalla, Petit Paysand Guy Lobe)include several tracks of this slow jam. And the rootsy, fast bendskin,established by Talla Andre Marie, has contemporized the folkloric tribalmeeting dance of the Bamileke people. Meanwhile makossa, and its speeded-upcousin makassi, continues to grow. Sam Fan Thomas's 1984 hit "African TypicCollection"hasn't ceased to rev up dance floors world-wide while bassist andParis studio mogul Aladji Tourefloods the market with an ever-increasingnumber of new and reissued makossa recordings on his TJR label. Favoritemakossa artists old and new include Sam Fan Thomas, Charlotte Mbango, Ben andGrace Decca, Guy Lobe, Johnny Tezano, Manulo, Ekambi Brilliant, Moni Bile,Prince Eyango, Petit Pays, Epee and Koum, Hoigen Ekwalla, LaPiro de Mbanga,Tom Yom's, Toto Guillaume, and Sam Batcho. While most of these exemplify thehigh-tech studio sound, the 1970's recordings of guitarist Eboa Lotinprovidean example of makossa's folk acoustic antecedents.


SOUTH AFRICA
Throughout the twentieth century, South Africa's rich musical traditions have been reflected in the evolution of its popular music, as each new musical trend has built upon and been nourished by its antecedents. As early as 1897, Enoch Sontonga's beautiful African hymn "Nkosi Sikilel'i Africa"(God Bless Africa) showed the influence of the missionary school music training which would be taken to a new level with the innovative a cappella vocal harmonies of mbube music, while the song itself would serve as an anthem and symbol of struggle to generations of Africans.
The 1930's were an important decade for South Africa's music history. The country's powerful recording industry was born in the 1930's when Eric Gallo formed Gallo Records, which would go on to include subsidiaries like GRC, RPM, Trek, Unika, Meteor, Trutone and Teal. Also in the 1930's, two major and distinct musical styles were emerging. Both mbubeand the mbaqanga precursor marabiwould continue to evolve for many decades creating various trends that would define South Africa musically. Mbube took its name from a hit by Gallo employee Solomon Linda. Solomon Linda's Original Evening Birds' 1939 classic "Mbube (The Lion)"is a song which would also emerge as massive American hit during the 1950's under the cover of "Wimoweh." (The original "Mbube" can be found on the Rounder Records compilation Mbube Roots). This Zulu a cappela style, marked by its antiphonal harmonies, developed from the dance and singing competitions staged by the all-male hostels where migrant workers were confined. Throughout the next decade mbube retained its basic structure of an upper register vocal lead backed by a bass-dominated four-part harmony, and by the late 1940's was characterized by the aggressive isikhwela joor "bombing" style. Throughout the next several decades, mbube continued to be refined, smoothing out the harmonies and polishing the dance moves which accompanied the singing, and by the late 1960's had mellowed into iscathamiya("to walk on one's toes lightly"). The main proponents of this style, Ladysmith Black Mambazo, led by Joseph Shabalala, have achieved great fame for their flawless execution of soft, dense harmonies and light dance steps.

Marabi, the other main musical trend born during the 1930's grew out of the bars and honky-tonks of shebeens located Johannesburg districts like Sophiatown, Jamestown, Dikatole and Orlando (which later became Soweto). In these rough joints, musicians entertained workers celebrating their Friday pay day. Bands like The Jazz Maniacsmixed American jazz and swing with local styles of music to create a uniquely South African fusion. The love of jazz music would take hold in South Africa as nowhere else on the continent, and South Africa would produce a number of notable jazz artists, as well as a distinct jazz tradition whose trademark style would in turn influence musicians around the world. Marabi itself would gradually grow into the township jiveand mbaqangastyles.
Another musical trend which was to influence mbaqanga, was kwelaor pennywhistle jive, which grew in popularity during the 1940's and 1950's. An Alexandria township youth Willard Celeinspired a legion of followers with his unique technique, and the 1951 movie The Magic Gardenalso publicized the instrument. By 1954, when one of pennywhistle's main legend Spokes Mashiyanerecorded a #1 hit, "Ace Blues", pennwywhistle was a youth rage. (Kwela, "climb up", takes its name from the term many of these youngsters heard shouted at them by police officers herding them into paddywagons). Spokes, and fellow pennywhistle hotshot Lemmy "Special" Moboso(who plays today alongside Thomas Phalewith the Soul Brothers), would later turn to saxophone in place of pennwhistle, while retaining the light, jaunty melodic lines which were characeristic of kwela.
Pennwhistle jive, was just one of the "jive" varieties to appear during this period. There was sax jive, flute jive, and vocal varieties, which became collectively know as mbaqanga. This term, which means "dumpling" in Zulu, infers the populist, downhome quality of the music. The vocal aspects of mbaqanga grew during the mid and late 1950's with groups such as the Manhattan Brothersand the Skylarks, the latter formed by two young women Miram Makebaand Letta Mbulu. Makeba achieved acclaim for her lead role in the late 1950's musical King Kong(which also shed the limelight on a number of other talent), and her part in the anti-apartheid film Come Back Africawhich catapulted her to international fame. She introduced overseas audiences to African classics like "The Click Song" and "Pata Pata". When South Africa canceled her passport in the 1960's, she remained abroad in the U.S. and Guinea, marrying American black activist Stokely Carmichael and becoming the symbol of "Mama Africa" for Africans worldwide.
Numerous other South African musicians and artists became ex-patriates from the brutal apartheid regime, most notably jazz trumpeter, (and Makeba's former husband), Hugh Masekelawho left the Jazz Epistles to go into exile in 1961 and achieved a 1968 crossover pop hit with "Grazing in the Grass". Many South African jazz musicians, such as Abdullah Ibrahim(formerly Dollar Brand), Johnny Dyani, Dudu Pukwanaand Chris MacGregormoved to the U.K. in the 1960's where they helped define the British jazz scene for several decades. Back in South Africa in the early 1980's, veteran saxman Ntemi Pilisoformed the African Jazz Pioneerswhose swinging jazz riffs and mbaqanga-style melodic lines pay hommage to the rich legacy of South African jazz.
Whereas mbube was an all-male style, mbaqangawas open to female voices, as the success of early 1960's women groups like Dark City Sistersand Flying Jazz Queenswould attest. These groups, and vocalists like the Dark City Sisters' Joyce Mogatusi, were extremely popular and influenced the formation of numerous other female groups, such as the Mahotella Queens. Some of these groups used a single male voice as a "groaner"to contrast with the sweeter female harmonies, and the Mahotella Queens' charismatic groaner Mahlatini, actually got his start as a sideman with the Dark City Sisters. Ironically, by the 1970's most mbaqanga groups had returned to an all-male lineup. During the 1960's and 1970's jive music, (also referred to as smanje manjeor "things of today" which indicated its trendiness), continued to modernize, adding a more electrified and amplified sound. Groups like the Soul Brothers(led by David Masondo), the Boyoyo Boys, and multi-instrumentalist West Nkosicontinued to shape the growth of mbaqanga and South African pop.
In the 1970's a white South African mixed mbaqanga with rock in his group Juluka. Johnny Cleggattracted notoriety for his multi-racial group which he formed with Sipho Mchunuin the early 1970's. Although the band began playing more traditional Zulu music, as the sound became more westernized Mchunu departed in 1985 and Clegg reformed with the group Savuka. During the 1980's South African political and human rights was a cause celebre for overseas activists, and in 1986 South African music became hugely popular with American audiences with the release of Paul Simon's Gracelandalbum. While Gracelanddid launch an international interest in groups such as Ladysmith Black Mamabazoand Stimelawho appeared on it, it was an extremely controversial project and Simon received intense criticism for naively violating the African National Congress' cultural boycott. While this did divide the musical community, artists such as Makeba and Masekela lent support to Simon by joining the Graceland world tour in 1987.
During the 1980's South African pop boldly mixed in with traditional rhythms more westernized sounds such as funk, soul and disco. This combination proved a winning one for such artists as Ray Phiri and Stimela, Sipho "Hotstix" Mabuse, Chicco, Dalaam Kidsand Splash. The 1980's produced such female disco divas as Brenda Fassieand Yvonne Chaka Chaka, the latter who burst on the scene in 1985 with "I'm in Love with a D.J." and topped that chartbuster in 1988 with "Umbqombothi". "Umbqombothi" indicated the tantalizing crossover possibilities that could be realized, as undeniably South African roots were wedded flawlessly to a killer pop dance beat. The 1980's also saw the emergence of one of Africa's number one reggae stars, Lucky Dube. With his group The Slaves, Dube carried on in the best tradition of Bob Marley, creating roots reggae classics with one drop appeal and socially conscious lyrics. The South Africa of the 1990's is in position to become a leader for reinvigorating Africa's music and recording industry, and with the possibilities afforded the country's renewal it will be interesting to see the next directions South African musicians take.

[C hristian]

ZAMBIA
While Zambiaachieved its independence in 1964, its pop music style, kalindula, did not fully coalesce until the mid-1980's. Prior to that, Zambia was as influenced musically by the sounds of neighboring countries like South Africa, Kenya, and Zaire as by the diverse musics of its 73 ethnic groups. The country's main industry and employment center, the enormous copperbelt mining region on the border between Zambia and the Shaba province of Zaire, brought in workers from throughout Zambia creating a lingua franca (Cibemba) and a local guitar fingerpicking style, but the full development of a national sound took decades to evolve.
In the 1960's, the main musicians interested in exploring Zambia's traditional musics were Alick Nkhata, Nasil Pichen Kazembe, and Emmanuel Mulemena. Nkhata, the son of a Tonga father and a Bembe mother, began working in 1946 as a field recording engineer with musicologist Hugh Tracey and subsequently joined the staff of Central African Broadcasting System (CABS). At CABS he oversaw recordings of traditional music and began playing guitar with his own quartet which expanded to become the Lusaka Radio Band. The introduction in the 1950's of a relatively low-priced radio set, (dubbed the "Saucepan Special" since it was encased in a cooking pot), allowed increased access throughout the country to radio broadcasts, and furthered Nkhata's national reputation. Nkhata advanced in his career to become Deputy Director of Broadcasting and director of Zambia Cultural Services. He died in 1978 in a cross-border raid by South Rhodesian forces on Zimbabwean freedom fighters camped near his farm.

Another musical father-figure, Nasil Pichen Kazembeestablished a stellar musical career within and beyond Zambia's borders, setting up bands in South Africa, Zaire and Kenya. Through the 1970's, Pinchen helped to pioneer the East African rumba style with the establishment of Super Mazembe, one of Kenya's most famous and loved bands. At the time of his death in 1991, Pinchen had played and recorded in six countries and left a legacy which stretched throughout eastern, southern and central Africa. Finally, mention should be made of Emmanuel Mulemenawhose recordings made famous the machanchabeat derived from traditonal Kaonde music.
In 1976, President Kenneth Kaunda, (himself an amateur guitarist), declared his "watershed" mandate which dictated that 90% of music broadcast on radio should be of Zambian origin. The result of this was not so much an outpouring of traditional Zambian music, but rather an explosion of Zambian bands covering a variety of African and western music styles. The two most widely popular musical styles of the '70's were zamrumbaand zamrock. Zamrumba was an embrace of the rumba which was experiencing a golden age of artists and recordings in Zaire and Congo. Zamrock, marked by bands like The Witchand Blackfoot, was a Zambian interpretation of Afro-rock, fired by Ghanaian band Osibisa's tour of 1972.
By the mid-1980's the right combination of musicians, producers and studios combined to ferment the creation of kalindula. Kalindula, named after a one-string bass from the northern Luapula province, is characterized by its driving bass line and rumba-inflected guitars. By 1985, a group of superstar kalindula bands were established; these included Amayenge(whose name is derived from the mayengedance performed by the Lamba people in the Copperbelt region), Shalawambe(the Bemba word for "stay behind and gossip"), Zambezi, Julizya, and Masasu(slang for something powerful) who play mantyantyamusic of the Kaonde people. Many of these groups used traditional sources and languages representing regions and peoples from throughout the country. While the latest soukous dances from Zaire still fascinate, kalindula has continued its growth fueled by newer groups including Mashabe, Makishi, Bwaluka Founders, Majoza, and Junior Melemena Boys.


ZIMBABWE
The historical role of music in contemporary Zimbabwesociety demonstrates the crucial place that music can occupy in political, spiritual, and social realms. One of the last African nations to gain political autonomy, music became a weapon during Zimbabwe's intense liberation struggle of the 1970's. During this period, dreadlocked singer Thomas Mapfumodeftly translated traditional parables and subtle messages into "chimurenga" (liberation war) lyrics which both defied the white-minority ruled government and became popular hits. In songs such as "Tumira Vana Kuhondo" ("Send Your Children to War"), which he cleverly insinuated could be claimed by either side, Mapfumo confused and infuriated the Southern Rhodesia government with his subtly subversive songs. Following Mugabe's overthrow of Ian Smith in 1980, Mapfumo's appeal did not diminish as he continued to champion the music and culture of Zimbabwe at home and abroad. Mapfumo means "spear" in Shona, and TM, along with his Blacks Unlimited guitarist Jonah Sithole, helped to forge a contemporary Zimbabwean sound by transposing the lines of the Shona mbirainto guitar riffs.
Zimbabwe's largest group (comprising around 70% of the population), the Shona, first moved into the area around the 9th or 10th century AD and began building the majestic Great Zimbabwe stone complex around 1100 AD. Archaeologists have discovered sites with mbiras dating back to the 1500's, but it is probable that mbirasexisted far before this date. Regardless of the exact antiquity of this thumb piano (also called in other societies by the name sanza, likembeand kalimba), there is no denying the central role that the mbira holds in sacred and secular Shona culture. In its religious sector the mbira is used in bira ceremonies to communicate with the spiritual world. Other types of mbira are used for more general entertainment purposes. The function and repertoire of mbira is often indicated by its design; there are several types which are used in different fashion. Some have eight metal keys, others have fifty-two but most mbiras are marked by their bowl-shaped calabash resonators. (For more information on mbira, consult the definitive book The Soul of Mbiraby Paul Berliner). Despite European missionaries' failed attempts to ban this "pagan" instrument, mbira musicians persevered in learning and perfecting their technique. A number of recordings demonstrating the power and range of mbira music are available from such masters as Ephat Mujuru, Dumisani Mariareand the great Stella Chiwese(who remains one of the few female mbira players).

In the mid-1980's it appeared as if Zimbabwean music might become "the next big thing" on the international stage. After tearing up their hometown capital of Harare, the Bhundu Boysbecame all the rage in the U.K. as they presented their fast-paced "jit-jive" to enthusiastic audiences. Jit's jaunty, high energy appeal embraced elements of Zairean rumba and South African mbaqanga, but it also maintained a distinct identity which helped to create an international interest in Zimbabwean music. Unfortunately, the Bhundu Boys followed the stereotypical tragic saga of bands who get signed by major record labels, enjoy temporary euphoria and then collapse after attempting to achieve crossover status. However, the Bhundu Boys did signal that Zimbabwe was filled with musical talent and energy, and bands such as fellow jit stars Four Brothersand rumba guitarist John Chibadurareceived much international attention.
Back in 1980's Zimbabwe, Oliver Mutukudziwas giving Mapfumo a run for his money as rose in popularity with a trademark "cough", soulful vocals, and unique brand of JiJaS(Jit-Afro-Jazz). Like Mapfumo, Mutukudzi has been diligently developing his craft for years, and tours throughout southern Africa helped to perfect his musicianship and develop his own voice. His lyrics tend to concentrate on serious subjects and social issues, and in addition to Shona he sings in Ndebele. Zimbabwe's other major ethnic group, the Ndebeleare a sub-group of the Zulunation centered in the southwestern Matabeleland. Lovemore Majaivana, who comes from the Matabeleland city of Bulawayo, sings in Zulu lyrics which are understood by Ndebele-speakers. Meanwhile, the Ndebele song and dance tradition is perhaps best exemplified by the a cappela group Black Umfolosiwho are renowned for both their choral work and dance performances. Black Umfolosi's work also crosses into the gospel arena where fellow Bulawayo musician Machanic Manyurekehas achieved fame for both preaching and music.
Zimbabwe's proximity to South Africa served as a conduit for some of the kwela, smanje manje (Zulu jive)and mbaqangastyles that developed from its neighbor. However, culture passed both ways as demonstrated by singers like Dorothy Masuka. Masuka, revered as Zimbabwe's "First Lady of Song" since the early 1950's, is the originator of "Pata Pata" and many hits which were covered by her friend Miriam Makeba and others throughout southern Africa. Another African import, arriving from Zaire and Congo via Zambia was African rumbaas several Zairean bands of the 1960's and 1970's settled briefly in Zimbabwe, rearranging some of their Lingala lyrics into the local Shona. One band who became permanent residents were Real Soundswho since 1978 have helped create Zimbabwe's own brand of rumba. Zimrumbaor rumbiraas it is sometimes called, reflects the incorporation of mbira patterns into rumba rhythms as well as the inflections of the Shona language. In addition to veterans like Real Sounds, Jonah Moyo, and John Chibadura, new rumba stars include Penga Udzoke, the Maugwe Brothersand Ketai & the Simba Brothers. Other '90's names of note are Robson Bandaand The New Black Eagles, Harare Mambos, Nyami Nyami Sounds, The Marxist Brothers, and Zexie Manatsa & the Green Arrows. Leonard Dembo and Barura Expresswere rapidly ascending to the top of popularity until Dembo's untimely and sudden death in April of 1996. The catchy lyrics of Dembo's 1992 hit "Chitekete" catapulted this young singer to instant fame, and the song will remain his most enduring musical legacy.
When Jamaican superstar Bob Marley played at Zimbabwe's 1980 independence celebrations, he helped launch an appreciation for reggae music and fashion that continues strong today. Reggae bands occupy an important place in the Zimbabwean musical pantheon with bands like Doreen Mcube and the Pied Pipersleading the way as they infuse the "one-drop" with some Shona soul. In a country whose flag shares the "irie ites" colors of red, green , black and gold, it seems appropriate that reggae should be one of the many rhythms that inspire Zimbabwe's musical life.


ZAIRE
The central African nation of Zaire has captured the ears and feet of African music lovers throughout the continent and worldwide. For at least the last fifteen years, the intoxicating sounds ofsoukousand other Zairean popular musical styles have ruled African music charts and discos, and since the 1950's Zaire's popular music has been legendary. (Since there has been so much interplay between musicians from Congo and their Zairean neighbors, a few Congolese artists will be mentioned here as well.)
Zaire's place as the musical hub of Africa is appropriate for a nation which geographically dominates the center of the continent. An enormous country, one-quarter the size of the United States, Zaire's population includes over 250 different ethnic groups, speaking nearly 700 languages. Precolonial dynasties located in Zaire included the Luba, Kubaand Lundakingdoms, and the kingdom of Kongowhich controlled much of Central Africa and its trade with Europe during the fifteenth and sixteenth centuries. By the nineteenth century the power of these earlier kingdoms had been diminished, allowing for the region's notorious exploitation. While the territory of the northwest bank of the Congo River was annexed to France, the southeast bank became in 1879 the private property of Belgium's King Leopold. In his quest for profit, Leopold massacred and mutilated the region's populace and by the time the "Congo Free State" was transferred to Belgian sovereignty in 1908, it was estimated that over half the population of the Belgian Congo had been destroyed since the start of European occupation. Zaire, as it was later renamed, was to remain under Belgian control until independence in 1960.

By the 1940's, Zaire's capital of Kinshasawas a vibrant, cosmopolitan city. A homegrown music industry was in place, and post-war labels recording local musicians included Ngoma, Opika, Loningisa, and CEFA (which employed the Belgian musician Bill Alexandre, famous for his influential guitar technique). In 1948, guitarist Antoine Wendobecame the first Zairean credited with cutting a record in Kinshasa. Wendo's style perfectly captured the early "rumba" wave of the 1940's. Another musical godfather of this era was Kantangan guitarist Jean Mwenda Bosco, who came from Shaba province and later settled in Nairobi, where his unique guitar playing caught on rapidly throughout East Africa.
During the post-W.W.II boom, EMI Records had released its GV series of Cuban recordings which proved immensely popular throughout Africa. These "rumba" (actually son) recordings of Cuban groups like Trio Matamoros and Sexteto Habanero resonated with Kinshasa's urban dance crowd, who were then engaged with the maringa. This dance style of the 1940's, which was played by an acoustic band including bottle and likembe, had itself replaced an earlier popular dance called the agbwaya. The rumba rhythms caught on easily with the maringa dancers, which was no surprise as the Cuban music was descended from African styles. While earlier songs were sung in an imitation Spanish, the natural tonality of the Lingalalanguage soon influenced the development and unique character of Congolese rumba. Lingala had become the lingua franca for Kinshasa's traders and workers, and as Lingala lyrics became more common, the melodic lines of the Congolese horn sections and vocals followed the tonal shifts of the language. As this style evolved into soukous, the slower opening intro of songs became more abbreviated, and sometimes dropped, in favor of the fast-paced sebenesection.
In 1953, Joseph Kabasele, aka "le Gran Kalle", established the first of Zaire's great musical dynasties, African Jazz. Guitarist Dr. Nicoand singer Tabu Ley Rochereaujoined the group a few years later, and throughout the decade the band's Latin-influenced style remained extremely popular. Many musicians from the neighboring French Congoalso contributed to the development of the rumba style, most notably Papa Noel, Edo Ganga, Nino Malapet, and Jean-Serge Essous. Essous, a talented reedsman, was an early member of OK Jazz who defected to African Jazz. He accompanied the group on their 1960 Belgian tour and then returned to his native land to form the long-lasting Les Bantous de la Capitale, (he was replaced in African Jazz for a few years by a young Cameroonian named Manu Dibango), a band which would include such favorite singers as Pamelo Mounkaand Tchico Tchicaya. Following French Congo's independence in 1960, many other Congolese musicians followed Essous's path and left Kinshasa for Brazzaville.
African Jazz had accompanied Belgian Congo delegates to Brussels both to play at a wedding and for the historic "Round Table" conference of January, 1960. Kabasele wrote two topical songs for the occasion: "Le Table Ronde" and "Independence Cha Cha". The latter was adopted as an informal celebratory anthem by other African nations achieving independence that year. Congo-Kinshasa was granted independence in June, 1960 ; within several months its prime minister Patrice Lumumba was dismissed and assassinated. In 1965, Joseph Mobutu seized power in a military coup.
The other major band to develop in the 1950's was OK Jazz. The band was inaugurated in 1956 and led by precocious seventeen-year old Franco Luambo Makiadi. Franco's charm and guitar skills soon earned him the title of the "Sorcerer of the Guitar" and during his 33 year career he earned other accolades as well, including "Le Gran Maitre". His musical catalog was enormous and produced countless classics. At the time of his death in 1989 he was still musically innovative and astute- the last five years of his life produced such hits as "Tu Vois, Mamou?", "Mario" and the powerful anti-AIDs warning "SIDA". Zaireans loved Franco's songs for their satiric social commentary, well-adapted band arrangements, and the emotional timbre of Franco's guitar and voice. Through OK Jazz, later renamed Tout Puissant OK Jazz (TPOK)Franco nurtured a number of talented performers such as Lutumba Simaro, Josky Kiambukuta, Madilu Multi Systeme, and Sam Mangwana(who also worked with Franco's rival Rochereau). The band rightly earned their slogan of "On Entre OK, On Sort KO" (one enters ok, one leaves ko'd). The life and legacy of Franco deserve more attention than can be payed here, and more information can be found in Graeme Ewens' biography Congo Colossus, (available through Stern's Music), as well as the numerous recordings being re-released through Sonodisc.
Franco and Joseph Kabasele had a good-natured and respectful rivalry, but musically their groups were quite divergent. Franco focused more on integrating traditional and folklyric elements into his musical development, particularly in having the guitar follow the lines played by a likembe(thumb piano). Meanwhile, the more Latinized African Jazz experienced a split in 1962, when Nico, Rochereau, and Nico's brother Dechaudleft to form Orchestra African Fiesta. A further factoring occurred in 1965 when Nico and Rochereau parted ways. Rochereau formed African Fiesta National, which later became Afrisa International. Nico and Dechaud's band was African Fiesta Sukisa, where Nico continued his flamboyant, sweet, Hawaiian-embellished guitar pyrotechnics with brother Dechaud providing rhythm guitar. Such African Fiesta songs as "Kiri Kiri Mabina Ya Sika" became Dr. Nico guitar trademarks as well as dance hits.
The kiri kiriwas only one of a number of popular dances of the 1960's. Les Bantous's boucheris supposed to have developed into the soukous(from the French word "secouer", to shake), and was associated primarily with Tabu Ley Rochereau and other '60's youth bands. While soukous has become a common way for foreigners to refer to the current style of fast-paced music, Zaireans themselves refer to dances based around a particular song and dance style- kwasa kwasa, nyekese, mayeboor moto, for example. Soukous is a convenient catch-all term for contemporary Zairean music but is less than accurate is defining much of it. (As Ken Braun notes in The Rough Guide to World Music, "...in Zaire soukous refers to a particular dance style popular in the late 1960's...Using the word soukous to describe music as different as Joseph Kabasale's classics and Papa Wemba's latest offering is like referring to everything from "Why Do Fools Fall in Love?" to "Cop Killer" as twist.")
The late sixties through early seventies was a prolific time for Zairean music, and this epoch produced a host of legendary youth bands along with a particular style of slower-paced rumba-flavored songs arranged with sweet harmonies and spiced with horn arrangements. Great bands of this period included Orchestra Conga Succeswith Johnny Bokelo, Orchestra Cobantouwith Dewayon(Bokelo's brother), Vercky's Orchestra Veve, Negro Successwith Bavon Marie Marie(Franco's brother), Los Nickelos, Trio Madjesi, Ntesa Dalienst & Les Grands Maquisards, Continentalwith Josky Kiambukutaand Vox Africawith Bombenga, just to name a few. (The French record label Sonodisc has released several CD compilations of this period, many under the title "Merveilles du Passe".) And of course, Franco and OK Jazz were going strong as was Rochereau who had achieved a masterful success in the international limelight with an epic 1970 appearance at Paris Olympia. Rochereau is credited with creating the stage show aspect of Zairean music, complete with dancers and animateurs, a trend which would continue to be refined.
A new wave of Zairean music burst on the scene in the early seventies. The first to lead this revolt was a group of students who in 1970 formed Zaiko Langa Langa. Led by the percussionist D.V. Moandaand singer Nyoka Longo, the group adapted its name from "Zaire ya ba koko" (the Zaire of our ancestors). Zaiko abandoned the horn section of earlier orchestras for a tougher and rougher guitar-based band and, to the delight of the dance crowd, expanded the energetic sebene section. Zaiko's new mood coincided with other changes occurring in the country in the early seventies. In 1971, Mobutu instituted his "authenticity" campaign, calling for a rejection of European names and culture and a return to traditional African roots. The name of the country was changed to Zaire and Mobutu added to his own name the title "Sese Seko" (all powerful).
Zaiko was to spawn a host of other branches (many titled collectively under the appellation Clan Langa Langa) and individual artists. Papa Wembawas an early addition to the group, who left in 1974 to form the more folklyric Isifi Lokoleand then in 1976 the legendary Viva La Musica(which was itself to produce such pop icons as Kofi Olomide). Another major launching pad of the 1970's were the groups formed from the Soki brothersoriginal band Bella Bellaand such off-shoots as Bella Mambo and Lipua Lipua. Singers Kanda Bongo Man, Pepe Kalle, and Nyboma, as well as guitarist Diblo Dibala, all served early in their careers in these bands and Kanda payed hommage to them in his song "Les Freres Sokis."
By the early 1980's a variety of economic, political and artistic factors had an impact in shifting the focus of the Zairean music scene from Kinshasa to Paris. Paris boasted excellent studio facilities complete with the latest technology, and new recordings released in the market initially reflected the more "produced" sound, as well as the expansive energy and freshness inspired by this new scene. The Parisian soukous wave of dance party music unleashed countless recordings with such big names at the forefront as Kanda Bongo Man, Pepe Kalle and Empire Bakuba, Quatre Etoiles(with Nyboma, Wuta Mayi, Bopol Mansiamina and Syran M'benza), Loketo(with singer Aurlus Mabeleand guitarist Diblo Dibala) and Lokassa ya Mbongo's Soukous Stars. Leading guitarists like Diblo, Dally Kimoko, Rigo Starand Nene Tchakouserved as session musicians for the burgeoning studio scene.
The 1980's also witnessed the ephemeral partnership of Rochereau and chanteuse Mbilia Belwho teamed up to produce a string of successes in a more classic style. While a few earlier singers like Abeti Massekiniand Mpongo Lovehad achieved recognition, the decade saw the emergence of several other female stars such as Yondo Systerand Tshala Muana. Muana was one of the few who deviated from the soukous/Lingala rumba mode as her rhythms were based on the Mutuashidances of the Baluba people.
The Paris connection served to introduce other musical elements such as zoukfrom the Antilles and even some Cameroonian makossainto the mix. The slower side of zouk, popularly called zouk love, replaced the rumba as a favorite for slow jams. As the 80's gave way to the 1990's soukous was becoming increasingly formulaic. Most recordings feature a standard fast-paced, guitar-driven sound punctuated by the vocal exhortations to the dance crowd provided by the animateurs. Zairean-based Swede Swedewas one of the few groups to explore a neotraditional, percussion-based sound. Papa Wemba has continued to pursue an iconoclastic vision, and Viva la Musica, and its graduates, have remained a favorite with the Zairean crowd. Wemba spearheaded the sapeur(Society of Ambiencers and Persons of Elegance) fashion religion which ruled the hipoise from Kinshasa's discotheque district of Matongeto Paris and beyond. Wemba was the apotheosis of "bien sape" and fans emulated his latest designer creations and attitude. Wemba has been one of the few Zaireans to try to cross over to the international audience but he astutely targets very distinct releases for his African and international markets.
Aurlus Mabele & Loketo, Diblo Dibala & Matchatcha, Soukous Stars, and Quatre Etoiles have been favorites on the tour circuit but the hottest names of the last several years have been crooner Koffi Olomide and Kinshasa-based Wenge Musica. While soukous continues to rule the dance clubs, it might be in danger of growing stale. However, as zouk, makossa, merengue and other elements have previously served to spice things up, newer integrations of styles from Cape Verde and Haiti might also reinvigorate the music. Political and economic changes have made France less hospitable to African immigrants, and the Parisian domination of the recording scene has shifted. While some artists have remained active in Kinshasa, the travails of life in Zaire have made it increasingly difficult for artists to stay. Several artists have attempted to put down roots in the US, South Africa's recording facilities are expanding, and it will be interesting to see the directions both geographic and musical that Zairean music will take.
However soukous may change or remain constant, and no matter what new artists emerge as the stars of the moment, the rich legacy of Zairean music will continue to be appreciated and cherished. Even today, songs from the 1950's, 1960's and 1970's are reworked into megamix jams by groups like Soukous Vibration and Soukous Stars. And one of the favorite songs covered by a number of artists has been African Jazz's "Africa Mokili Mobimba"whose lyrics salute such forefathers as Kabasele, Nico and Rochereau. The title of this song translates into "Africa Everywhere" or literally "Africa the Whole World" and certainly Zairean artists have succeeded in bringing the urban sounds of Kinshasa worldwide.


------------------------------------
gotta go to bed. what country's music/genre you looking for specifically? Let me know, and I'll search my files here....

[TAC]

Originally posted by DEEPHOUSEHEAD:
</font><blockquote>quote:</font><hr />Originally posted by TAC:
Hey G, everything above is all over the place. Go here =&gt;World Music (http://www.allmusic.com/cg/amg.dll?p=amg&sql=F0WORLD)&lt;=, which is a sub area of here =&gt;All Music Guide (http://www.allmusic.com/)&lt;=, for a centralized place to come up to speed real quickly.

I have found the Allmusic site to be very an invaluable tool when looking to initially learn about specific music genras (sp?). From here, you can do specific searches on invididual artists to get even deeper into their person's music.

Note, to hear sound bites, click on the "buy now" feature, which will then take you a purchase site. You will then have sound bites to the music for a specific CD. Naturally, you don't have to buy the Cd, but you can at least learn what the music sounds like.

Peace
TAC Not sure what you mean by "all over the place" ?</font>[/QUOTE]All I meant was that there was a lot of information, but without no way of making sense of it. The site I provided has bios of a lot of the performers, along with how all the music is interconnected.

To the untrained ear, African music all "sounds" the same. However, after a little reading up and listening, it becomes possible to appreciate, as well as easily identify, the music from different regions and countries.

Peace
TAC

[DEEPHOUSEHEAD]

Originally posted by TAC:
</font><blockquote>quote:</font><hr />Originally posted by DEEPHOUSEHEAD:
</font><blockquote>quote:</font><hr />Originally posted by TAC:
Hey G, everything above is all over the place. Go here =&gt;World Music (http://www.allmusic.com/cg/amg.dll?p=amg&sql=F0WORLD)&lt;=, which is a sub area of here =&gt;All Music Guide (http://www.allmusic.com/)&lt;=, for a centralized place to come up to speed real quickly.


I have found the Allmusic site to be very an invaluable tool when looking to initially learn about specific music genras (sp?). From here, you can do specific searches on invididual artists to get even deeper into their person's music.

Note, to hear sound bites, click on the "buy now" feature, which will then take you a purchase site. You will then have sound bites to the music for a specific CD. Naturally, you don't have to buy the Cd, but you can at least learn what the music sounds like.

Peace
TAC Not sure what you mean by "all over the place" ?</font>[/QUOTE]All I meant was that there was a lot of information, but without no way of making sense of it. The site I provided has bios of a lot of the performers, along with how all the music is interconnected.

To the untrained ear, African music all "sounds" the same. However, after a little reading up and listening, it becomes possible to appreciate, as well as easily identify, the music from different regions and countries.

Peace
TAC </font>[/QUOTE]Excactly.

Thanks for the info.

As I mentioned,most www.live365.com (http://www.live365.com) station give info on all they are playing (track title,artist etc),while applicable is playing.

You'll only understand by actually goint there and listening.

Christian Thanks for the schooling.

[imported_Gman]

Originally posted by DOUG GOMEZ:
yes! tony allen and afrika 77

and ANTIBALAS! Been checking out Antibalas Afrobeat Orchestra this weekend. Good stuff. Thanks.

-G

[socratez]

Check this link poeple, i got it from a Dutch radio show. It contains beutiful music from MAdagaskar.

100% integrity ENJOY MADAGASKAR (http://www.vpro.nl/programma/smil/startepisode.sram?2785571+3304601+9493466+13145786 )

Never mind the dutch smile.gif

[ December 22, 2003, 03:04 PM: Message edited by: socratez ]

[Drrtynewyork]

Originally posted by Gman:
</font><blockquote>quote:</font><hr />Originally posted by DOUG GOMEZ:
yes! tony allen and afrika 77

and ANTIBALAS! Been checking out Antibalas Afrobeat Orchestra this weekend. Good stuff. Thanks.

-G </font>[/QUOTE]cool, they are definitely worth checking out plus they have many releases in 12" single EPs for DJs. graemlins/thumbsup.gif

[And]

Originally posted by dj_wubwub:
On a different Morrocan Trance vibe. Gnawa "night spirit master" on Axiom is a record that is pure morrocan trance that will take you to some interesting places. Welcome to the board.
graemlins/thumbsup.gif
Glad you mentioned Gnawa Morrocan trance. Now there's some real trance. After I heard the song on the box set, I bought a cd featuring music by the Gnawa musicians of Marrakesh. You're right about the music taking you interesting places. Reminds me of the Muslim calls to prayer I used to hear coming from the mosque down the street from our house in Lagos.
Kind of on the same lines - deep and trancey, Ali Farka Toure of Mali is excellent. I never listen to his music in the car though .. Gets so heady last thing I need to do is fall asleep behind the wheel. :D