Magool 'Jacil Dheeg Malago Qury' Light & Sound


stampsprofile2Glad to announce that the first compilation on our own in-house label now is available for purchase through the Shop. Light & Sound of Mogadishu comes as first of it’s kind, a unique compilation of tracks from the seventies Somali scene. Light and Sound was a was a small label and shop that operated in the ‘Cinema Hamar’ complex downtown Mogadishu. Vinyl singles was shifting hands among electronic equipment and lighting products. From the funky fused organ led rhythms of The Sharero band to the mesmerizing voice of Magool. Light & Sound had the sounds of the times! The vinyl has 7 tracks, the digipack CD has 8. Compilation comes fully remastered with liners and pictures. Read the press release through this link. In shops from the 29th of august. The bonus track on the CD is the excellent guitar percussion driven ‘Jacil Dheeg Malago Qury’ Hear part 1 and 2 in the mp3 link below. Translated to “Is Love Written in Blood?” thanks to Risto Nevanlinna for letting us borrow the original for the master and Lidwien Kapteijns for the translation of the song title.

Light & SoundA) & B) Magool ‘Jacil Dheeg Malago Qury’

Orch Le Nzoi 'Declaration/Ou Est Le Probleme' Ed. Pop


congoLe Nzoi aka The Bees originated sometimes in the early seventies assembled by the famous vocalist Edo Gang, who’s been in bands like Les Bantous De La Capitale and T.P.O.K. Jazz. The Edition Populaire was a label owned by Franco, and this gem of a tune ‘Declaration’ was recorded on a mobile recording studio Franco used for all his sub-labels. Never discard a Congolese track after the first minute, it starts cooking mid-way. The Bees start to sting real hard here at 1:45! Departing from a call and response duet a killer guitar riff kics in and meets the sax solo half-way. This track can be looped throughout the day and night, it has everything you need!

A) Orchestre Le Nzoi ‘Decleration’
B) Orchestre Le Nzoi ‘Ou Est Le Probleme’

Loi Toki Tok'Amalia/Lakusema Mimi Sina' Pathé


phonesLove songs, irrespective of lyrical inspiration or language used – are endearing and captivating. They always have a way that connects to audiences with consummate ease. The song Amalia is no exception, despite its seemingly economical use of verses, astutely weaved around four simple lines that ooze with passion. Undeniably, the song-writer must have been deeply smitten and enamored by his feelings for Amalia. She is lyrically described as being “ langu la maisha ya dunia…” [the flower in his life on earth]. His heart yearns intensely for her charm, and love to shine through the darkness of a lifetime without her presence. The song’s laid-back and mellow refrain did likely serenade countless couples on the dance-floor, drawing lovebirds closer in tight embrace, each enveloped in the idyllic moment. Witty words like bolero [means slow-tempo] engraved on the 45rpm sleeve, were used to categorize specific tracks. Anyone with a keen ear for good music is bound to appreciate song’s adeptly structured guitar-work and rhythmic interplay, crafted during what was a possibly riveting recording session. On the flip side, Lakusema Mimi Sina – loosely translates in English as having nothing to say, steps up the tempo a notch higher but lyrics maintain the quest-for-love theme. Notably, either track bears less or minimal foreign influences – a tactful departure from the commonplace feature for most bands of the era. There is hardly any pronounced James Brown overtones on the trend-setting Loi Toki Tok band’s songs – grounded in an indigenous feel flowing through the instrumental arrangements.

PathéA) Loi Toki Tok ‘Amalia’
B) Loi Toki Tok ‘Lakusema Mimi Sina’

Orch. Baya Baya 'Kidogo Sana' Kwetu


leopard In times of “Feelabration” here at Afro7, we’ve tried to trace the Afrobeat sound in the East and Central Africa. Are there any musicians from Kenya, Tanzania or Congo that can match the prowess and sound of Nigerias Fela Kuti and his counterparts? The closest we come to trace this sound is Johnny Bokelo’s ‘Nakupenda Sana’ that we posted a few years ago. A Congolese artists in the ranks of Verckys and Franco. Mbuta Teka’s Orchestra Baya Baya (an offshoot of Veves) released this track on the Tanzanian state run label Kwetu. A rumbling backbone, funky guitar lick, jazzy horns and a soaring organ line. A different kind of opening jam! Sadly for us Soukous fans it doesn’t really take off in part 2 but still some amusing solos and and quirky lyrics. “Kidogo Sana” means “a pinch..” or “very little.. ” in English. “Alright man! That is new sounds from Africa!!” Enjoy…

KWETUA) Orch. Baya Baya ‘Kidogo Sana Pt. 1′
B) Orch. Baya Baya ‘Kidogo Sana Pt. 2′

Bahari Boys 'Pekeshe/Mangale' Bahari


bahariboatMangale is no doubt one of veteran saxophonist Joseph Ngala’s hit songs. It’s simple yet intricately cascading horns section and heady bassline irresistibly grows on the listener – often luring one unwittingly to the dance floor. With its catchy lyrics sung in the indigenous coastal Rabai dialect, this song is still as fresh to the ears as it was when originally composed over three decades ago during the mid 1970s. Alongside this Bahari imprint 45 inch flip side track Pekeshe – the twin traditional ‘ballads’ are timeless and enduring – easily resonating with cross-generational audiences. But notably, Mangale must have irrefutably been a somewhat melancholic, yet happy party song as its jazzy-riffs driven refrain attests – wherein the seasoned lead vocalist calls out the names of Bahari Boys Band members – Lubwe, Washo, Ndangu, Mutunga, Chiranzi, Ngala, Funzi and Kondo. This camaraderie trait was common among most closely-knit local bands hailing from the 70s era – with each instrumentalist regularly looking up to rest of crew as a source of inspiration. Pekeshe on the other hand still reigns supreme as a popular request song especially during communal events and cultural festivals held seasonally among the Miji-Kenda – nine tribes’ resident along the coastal strip. But more significantly, these now rare 45s double tracks stand out among veteran Ngala’s handful seminal recordings – traced back to an era widely referred to as the golden age of Kenyan music.

Mombasa RootsA) Bahari Boys ‘Pekeshe’
B) Bahari Boys ‘Mangale’

Mombasa Roots Band 'What is it ../My Everything' Mombasa Roots


wwfKenya is renowned for its cross-breed of benga and rhumba rhythms. But listening to What Is It [That You Want] and My Everything – cut circa 1978 – these double-sided 45inch single tracks seem somewhat misplaced categorized as ‘Kenyan’ songs. That the funky and indisputably bouncy, disco pop-groove recordings were pressed in Nairobi during late 1970s, is a glaring pointer to the regional showbiz capital being a bedrock of diverse musical influences. Foreign pop music saturated playlists on then sole national radio broadcaster – with sprinklings of local songs accorded sporadic airplay. These formative twin tracks are credited to composer Abdalla ‘Dala’ Hamisi – who had just joined Mombasa Roots band alongside Ahmed ‘Emil’ Juma [both formerly affiliated to defunct Mombasa Vikings] and Tamrat Kabede [drums]. The group is arguably among most consistent bands plying their musical trade along Kenya’s Coastal strip. Their informal gigs began way back during mid 70s and one can still encounter the ‘Roots’ engaged in regular or private performances on evenings or weekends, often serving up covers and original cuts. The group prides itself as “.. a live and dancing band for all occasions..”  Much like other musical outfits from the coast, the band formed in 1977, started out as a family affair. Its original line–up comprised the ‘Juma Brothers’ – Saeed [manager], Suleiman [keyboards], Ebrahim [guitarist] and then Ahmed ‘Emil’ [sax/vocals/guitar], who came on board later on.

Mombasa RootsA) Mombasa Roots Band ‘What is it that you want’
B) Mombasa Roots Band ‘My Everything’
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Muzikifan 22.12.13
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