Year – AFRO7

Black Savage Afro7

The mid-seventies in Nairobi were a time of tremendous growth. In the first decade after independence, the city’s population doubled and the economy grew at a rapid pace. Pop culture experienced a boom, live music thrived around the city and young, aspiring musicians were exposed to a wide variety of local, regional and international influences. This was the time Nairobi developed into a musical melting pot that nurtured artists who are well remembered even outside Kenya, such as Les Mangelepa (still performing!), Matata, or Joseph Kamaru. The music industry increased its capacity and by 1975 local pressing plants were able to produce over 10,000 records per day. Amidst the proliferation of Kenyan music being released by hundreds of bands and solo artists, some of the most interesting records did not receive proper distribution or promotion, and four decades down the line they remain ungoogleable, unmentioned in discographies and generally unheard.

One band whose recorded output has been all but invisible until recently, but who are well remembered by people who were young in 1970s Nairobi, is Black Savage. Their music was released on an LP and three singles between the mid-70s and the early 80s, and has remained out of print ever after. The early years of the band, whose members met during their secondary school years in Nairobi, are well described in the liner notes accompanying the current reissue compilation by Afro7. Band leader Gordon was the son of professor Simeon Ominde, who had led the reform of Kenya’s educational system in 1964 upon independence, and who was teaching at Makerere University in Uganda in 1956 when his son was born. Gordon Ominde’s earliest memories included Louis Armstrong’s concert in Kampala in 1961, where – at the age of four – he was invited on stage and started conducting the band. Musical inspiration also came from his sisters who were singers, and from attending musical classes, although at Lenana – a former whites-only boarding school which was gradually being reformed to cater to Kenyans of different backgrounds – music education meant studying Beethoven and Mozart. Together with a group of younger students who shared an interest in music, including original Black Savage members Job Seda, Jack Otieno and Ali Nassir, he started practice sessions using the musical instruments that the school provided. After completing school the band decided to rejoin and pursue a career in music, despite all odds: obtaining their own instruments, finding rehearsal space and getting the approval of their families would all have been challenges in mid-seventies Kenya.

In 1973, two Kenyans of Indian heritage who had run a successful photo business since the mid-50s, gave Kenyan music a boost by investing in a 24-track recording studio, and by acquiring EMI, Pathé and other label licenses for recording and distributing local and international music. In the next few years the Sapra studio, record plant, tape duplication facility and colour printing business would become the go-to spot in Nairobi’s Industrial Area for musicians and labels from all around East Africa. The studio was built and – as the owners struggled to find a sufficiently trained local engineer – also run by Detlef Degener, a German who had come to Kenya to construct studios for training journalists. Between 1975 when Sapra studio opened and the end of 1978 when the company went bankrupt, he recorded hundreds of bands from as far as Zambia (many Zamrock albums were produced under his guidance). Black Savage also came to record at Sapra for their debut album, which was to be released by EMI.

‘Something for someone’ provides a refreshing look at Kenya’s musical landscape of the mid-seventies. Black Savage weren’t drawing their primary influence from rumba or benga but from psych and folk rock, funk and r&b. All songs were in English, and the lyrics were politically and socially aware, breathing the activist vibe of the international ‘summer of love’ generation. The band released three more singles. ‘Do you really care/Save the savage’ is two sides of semi-acoustic protest folk, ‘Grassland/Kothbiro’ embraces the group’s Kenyan identity through the music and language, and ‘Fire/Rita’ (released around 1982 on the short-lived Kenyan CBS label) sounds as if the group attempts to reinvent itself – as a reggae band.

Given the rarity of the original vinyl releases, the lack of airplay and the absence of biographic info on the band, one could conclude that Black Savage ended up all but forgotten. It’s reassuring that the musical paths of the band members didn’t end there, though. Job Seda (who changed his name to Ayub Ogada) and Jack Otieno (today known as Jack Odongo) joined the African Heritage Band. Job then became an actor (Out of Africa), joined the UK record label Real World and scored Hollywood soundtracks. Jack went on to produce numerous Kenyan bands throughout the 1980s and 90s, and is still active as a gospel musician. Gordon Ominde continued his studies but ultimately chose for a career as a musician, and his music took him to England and to Germany where he started a family; he died unexpectedly in 2000. Mbarak Achieng is credit for composing Black Savage’s Kothbiro, which Ayub Ogada re-recorded and which ended on the soundtrack of the Constant Gardener. The memory of Black Savage as Kenya’s most prolific rockers of the 1970s remains vivid in the hearts of thousands of Nairobians, and the current Afro7 reissue is a worthy first attempt at introducing their best work to an international audience.

The Full Black savage compilation Pre-order is in effect now, go to our shop now!
Hear one full track from the album below or check out our soundcloud page with snippets of all the tracks!

A3) Black Savage Band ‘Sharpeville’

Etuk Ubong ‘Black Debtors/Collaboration of Doom’ Afro7

Etuk Ubong (born June 25, 1992) is a trumpeter, composer and bandleader. Hailing from Akwa Ibom State in southern Nigeria, raised in Lagos, he started playing at the age of 14 thanks to his mother’s encouragement. The past years he has been very active in Nigeria but also seen on spots in London and other European countries. Check out his previous albums Songs of Life and his Miracle >(due out on vinyl over summer!)
Following the Nigerian musical tradition of powerful protest songs against injustice and corrupt goverments, Etuk has penned two original numbers targeting todays state of affairs. It never manifest, they never fulfill their promises. They are meant to Provide good roads, stable Light, Free Education, Free Health Care Facilities, Jobs and security. With this brand new Afro7 single Labeled Earth Music, Etuk Ubong and his band raises up a fierce rhythmical storm, drawing traditions from funk, high-life, jazz and afrobeat. Laced with tape effects, delays and spiced up rawness by Neo Funk’s new wonderboy Estonian Misha Panfilov, it’s a sureshot mover for this summers tropical dancefloors. Not to be missed, head over to our shop to grab your copy!

A) Etuk Ubong ‘Black Debtors’
B) Etuk Ubong ‘Collaboration of Doom (C.O.D.)’

Mombasa ‘Vikings Kibe Kibe/Mama Matotoya’ Afro7

Located on Nyali Beach, south of Mombasa city lies Mombasa Reef Hotel, maybe the grandest of all the classic Kenyan hotels, run and managed by the same family since the mid-seventies. Catering westerners to safaris and snorkelling, and providing local acts of art-acts and music, including the hotel’s then house band the Mombasa Vikings. A band name undoubtedly suited for the many Nordic tourist that frequently visited. If you wanted to bring back some of the magic, musical souvenirs was offered for sale after the nightly musical show and another way for the band to make some extra needed pesa.

Fast forward somewhat 35 year the original Beach Rhythm’s Mombasa Roots seven-inch vinyl single with these two tracks finds Sweden’s own Rickard Masip in some now defunct Stocholm shop, he was mindblown over the music of the b-side track Mama Matotoya, it’s not exactly afro-beat more of a hybrid, heavy percussive with a a tip of chakacha rhythm pattern, a flute solo ooozing with jazz sensibility.

The Ensemble consisted of Tony Rusteau on Reeds. Abdalla ‘Dala’ Hamisi on Percussions and vocals, the late Ahmed ‘Emil’ Juma on lead guitar (…of later Mombasa Roots fame) Keneth Lucas on bass, Clement Fernandes on acoustic guitar, Bernard Pu Cheok Chuen on drums and Bruno Da Silva (who still works at the hotel to this day) and Richard Rusteau on perucssion and effects. The band was a fine example of how good it gets with a daily playing schedule and excited crowds.

We’ve been a fan of this 45 for a long time and the original still is extremely rare (only two copies known to have been found in Sweden!) We had to make a replica and with the help of Carvery’s Frank Merritt and Racuba’s Adam Isbell it’s finally available again sounding fresh and better than it ever did. 100% officially lisensed from the original band members!

A) Mombasa Vikings ‘Kibe Kibe’
B) Mombasa Vikings ‘Mama Matotoya’

David Waciuma ‘Devil Go/Jesu Kristo’ Afro7

David Waciuma a BIOGRAPHY – he was born in 1945 in Naaro Village, Kandara Muranga County. He went to Naaro / Kirunguru Primary Schools where he did his KAPE. He then proceeds to the Duke of Clocester High School (Nairobi High School) After Independence he was the first lot to be taken to Denmark to be trained as Air force cadet. Around 1964 he came back and said the place was too cold for him. And then in 1965 he was taken again to Egypt Cairo for the same cause. After one year he came back again because of fighting in the collage not completing his scholarship … yet again! His good mother (Wangui Waciama) again talked to Dr. Kiano and he was taken to Canada for full Scholarship to do same cause for 3 years, and then later he joined his brother in America. This is where he started and polished his music career and formed a band. Now in 1971 he came back and told his parents he wanted to become a musician then his older brother whom he was with in USA (Dr Wanjohi Waciama) bought him musical instruments. In 1972 he formed his first band The Monks Experience as a lead guitarist he made an impact to the young and old in the boogy euphoria. He was mostly performing in a club on top of a tall building in the Nairobi KICC, but then he moved to Florida Club along Koinage Street – Nairobi. In 1976 he met the love of his life Anne Kamwende, a student teacher in Kilimambogo Teachers Collage. They tied the knot in PCEA Ting”ang”a Church on the 11th Dec 1976. Then after that he changed from secular music to Gospel music in 1977 and formed RAPTURE VOICES further on he started attending evangelical meetings and getting more socialised in that comunity, eventually he became less active in playing music. David and Anne were blessed with two girls and two boys. David Waciuma died in December 2016. Editors note: The best tracks from David Waciuma and the Rapture Voices are back now as a remastered limited seven inch on Afro7 records. Head over to the shop to secure your copy!

A) David Waciuma & Rapture Voices ‘Devil Go’
B) David Waciuma & Rapture Voices ‘Jesu Kristo’

Mombasa Roots EP Afro7 Records

When thinking of urban coastal Kenyan musicians whose careers run decades deep, taarab performers may be the first who come to mind. Indeed, taarab taps into a poetic tradition that goes back centuries and it may be the longest surviving thread in popular music across the Swahili coast. Sadly, in recent years the thriving scenes of Mombasa and other coastal towns have become increasingly quiet, for a number of reasons including economic decline, the ageing of the live musicians who came up in the 1960s and ‘70s, Congolese and later Nigerian music becoming popular, and the recent clampdown on terrorism which adversely affected public life in Mombasa.

There’s another Kenyan coastal sound, one that came up in the seventies and survived it all, a genre that even enjoyed commercial success abroad but has often remained ignored and despised by western critics. Afro7 previously released an EP re-introducing one of the finest examples of this school: Them Mushrooms, a band that played its part in the introduction of coastal dances like cha-cha to the masses; then the second volume of Kenya Special included Hinde, a song from the mid-eighties by African Vibration which even made Kikuyu people in Nairobi speak a bit of the coastal Giriama language at the time, as it became an anthem of sorts. Taarab music has been the essential wedding music of the Swahili coast, but these new bands made their living recording for the club and radio, and performing in hotels. Even though the different currents in Mombasa taarab all borrowed from a multitude of local and foreign genres, Them Mushrooms, Safari Sound Band and the likes created a type of pop music with a modern sound led by keyboards and drum machines that was soon embraced by the eclectic Kenyan audience and foreign visitors alike.

One of the most prolific bands in this field has been Mombasa Roots. They recently hit their 40th anniversary, not a small feat in the Kenyan musical landscape that is full of pitfalls. When they started out in 1977, the group was made up of the brothers Ebrahim, Suleiman and Ethiopian drummer Tamrat Kebede, among others; another Juma brother, the late Ahmed Juma, joined the next year as he left the Mombasa Vikings. In 1979 the band, trying their best to come up with their own compositions, recorded their first single in their residence at Muthaiga (Nairobi) with the assistance of Nabil Sansool, the Syrian born producer who, later on, would assist in elevating the production values of Kenyan coastal music. On What Is It That You Want / My Everything, which was released on the Mombasa Roots imprint, the band was still carving out their own niche, and it wasn’t a big hit. Unlike other bands, they invested in their own instruments and the equipment from the start, which helped them finetune the sound that propelled them to fame by the mid-eighties.

It was a string of singles, released in 1984 and 1985, and ultimately compiled on their first lp ‘MSA-Mombasa’ (1987), that landed the work of Mombasa Roots in discos, bars and jukeboxs in the remotest corners of the country. ‘Disco cha-ka-cha’ was a sensation when it came out, a bold attempt at reinterpreting a semi-traditional female wedding dance for the clubs, but it worked well. Up to that point, the most common way for urban Kenyans and foreign visitors to hear traditional Kenyan music had been through performances during ceremonies or aimed at tourists. Their version of ’Kata’, a sparse and hypnotic rhythm with the right touch of keyboard, is still well remembered after three decades. The chakacha dance songs helped them gain popularity among the taarab audience, but It was their version of ‘Kasha langu’, a Swahili evergreen first recorded in the 1950’s, that got them a lot of new fans; it’s still a part of Mombasa Roots’ live set today.

From its inception, Mombasa Roots played the live circuit on the coast and upcountry in clubs aiming at local audiences and foreign tourists, too. In the years to come they accepted gigs abroad, which led them to places like Germany, Dubai and Ethiopia, where they have been regular guests for the past twenty years. And despite most of the founding members leaving the group (Tamrat and Emile since passed away), Mombasa Roots is still going strong today. The band performs in different venues seven days a week with a diverse line-up of young musicians led by veteran Ebrahim Juma, playing own compositions and covers. The latest Afro7 release is a tribute to these pioneers of Kenyan pop music. The EP combines the first Mombasa Roots Band single from 1979 with three of their biggest hits from the mid-eighties: the melancholic ‘Kasha Langu’, the poppy disco of ‘Karibishe’ and the chakacha trance groove of ‘Mezea tu (Lele mama)’.
Head over to our shop to secure your copy, in shops on the 13th of April, but we’ll start shipping out preorders as fast as we have them.

A1) Karibishe A2) Mezea Tu (Lele Mama) A3) Kasha Langu
B1) What is it that you want B2) You’re my Everything

Rift Valley Brothers ‘Mu Afrika/Uhiki Wa Nduru’ Mu-Africa

This song rekindles memories of the fiery wave of the black consciousness movement that swept across the African diaspora from 1960s through to the ’80s. The Rift Valley Brothers band’s lyrics are seemingly a clarion call imploring local Kenyans to come to terms with their rich African roots and home-grown heroes. These were likely inspired and penned in praise of Kenya’s liberation struggle and key Mau Mau frontline freedom fighters. Several unsung and long forgotten ‘bush’ generals are saluted for their sweat, gallantry and bloodshed. But the underlying message is undeniably emphatic on the pressing need (especially for the younger generation) to embrace selfconsciousness and pride in their African heritage.

A) Rift Valley Brothers ‘Mu Africa’
B) Rift Valley Brothers ‘Uhiki Wa Nduru’

Kiru Stars ‘Family Planning/Mumbi’ Editions By Law

“One of the best Kikuyu disco tracks I’ve ever heard…!” Rickard Masip said having found few copies of ‘Family Planning’ on his last trip to Kenya in 2013. Often the continuing search for something fresh and original can be a striving fare, especially when you have to look through thousand and thousands of dirty old singles. Even though there are many Kikuyu Benga singles, few have the magnitude of By Law’s KIRU1 and KIRU6. Over a hypnotizing groove with a heavy backbeat, Family planning tells us the story of a family dispute between husband and wife, set in a traditional Kikuyu rural setting. The bone of contention in the marriage is that the wife has had enough with giving birth to more kids. They have 8 kids so far but the arrogant and rude husband is still not satisfied and wants more. Though grim it may seem the outfall is the man accept the humble argument of the wife. Notice the slight shift to a more Soukouss driven beat towards the end of the track. The bass heavy ‘Mumbi’ is in more positive fashion a classic love song about the authors passion for a woman he named the song after. He goes on tour to Nyeri where she is from and tells all the other guys to lay off his true love. Massive thanks to Moses Mungai for the translation! Both these tracks are now officially licensed and available as 12-inch through our own in-house label Afro7 records, limited to 350 copies in a heavy custom silk pressed sleeve. Both tracks extended and reworked by Finnish supreme Didier Selin. Buy it now!

A) Kiru Stars ‘Family Planning’
B) Kiru Stars ‘Mumbi’

Orch. Baya Baya ‘Kidogo Sana’ Kwetu

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…

A) Orch. Baya Baya ‘Kidogo Sana Pt. 1’
B) Orch. Baya Baya ‘Kidogo Sana Pt. 2’

Mombasa Roots Band ‘What is it ../My Everything’ Mombasa Roots

Kenya 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.

A) Mombasa Roots Band ‘What is it that you want’
B) Mombasa Roots Band ‘My Everything’

Jimmy Mawi ‘Vero/Broken Love’ Razaka

As early as 1950s, electric guitars were a phenomenon in the Madagascar islands. In subsequent years, it was typical for lead guitarists to layer their strumming with dazzling riffs on a song hurtling along a frantic pace. This could have been the basis which likely influenced the late Jimmy Mawi’s style, long before he packed his bags destined for the Kenyan capital where he pitched tent in the mid 70s. Unwittingly, he was just coming ‘back home’ as at some point – Madagascar supposedly opted to break away from East Africa’s fold. More significantly, the islands have on instances been described as the country “..where old rock albums go to die..” This uncanny aphorism perhaps resonates with the groove that infuses hard-to-find, rare – until recently, handful tracks credited to Mawi. The not-so-popular Madagascan guitarist virtuoso’s insistent dance-frenzied, Afro-funk singles Black Star Blues, Let Me Keep Away From You, I Want Get Up and Black Dialogue – are already making a grand comeback on the global disco trail. Mawi’s name is undeniably as unfamiliar as his previously out-of-circulation songs, but which are now available on limited editions 10″ Vinyl on Soundway records. Incidentally, rave reviews blatantly draw parallels between Mawi’s “..rough heartfelt frenzy..” vocals expression with his first-name sake Jimi Hendrix’s bluesy funky-rock elements. These 45s were initially recorded some 40-years ago, during late 1970s in Nairobi, then East Africa region’s musical hub.

A) Jimmy Mawi ‘Vero’
B) Jimmy Mawi ‘Broken Love’

Shiraz with the Sunny ‘Karibu Karim’ Alka

Hazar Imam or Prince Shah Karim Al Hussaini Aga Khan is a British Shia Muslim imam and business magnate. His following in Eastern Africa extends to great recognition for his religious role and aid work. Given the fact that there are several development aid institutions, including health and education services with his name on it. In occasion of his 1981 visit to Kenya this single was issued by Ismailia Women’s association. Sung in Swahili ‘Karibu Karim’ delivers classical Indian instrumentation spiced with a cool 80s synth, catchy chorus in a trad meets modern package. Notice the slight taarab feel over the arrangements. Sadru & Zeenat Kassam on vocals. Music by Shiraz. Lyrics by Mansoor. Enjoy!

A) Shiraz with the Sunny ‘Karibu Karim’
B) Shiraz with the Sunny ‘Believe me, Na Badlenge Hum’

Sal Davis ‘Sultan Qaboos Song’ SDP

Kenyan singer Sal Davis has had a fascinating career and is still musically active; his ‘Makini’, released in Belgium in 1969, is a sought-after funky mod classic that was reissued on a collectors label in UK in 2008. He also recorded ‘Back in Dubai’ in 1984 which became a classic to the expat community there in the 1980s, participated in the UK Eurovision song festival in 1979, and further back he recorded a tribute to Qaboos, the Sultan of Oman who is said to have turned his country from a poor, rural society to an oil producing wealthy state in the 1970s (and he’s still in power today, ever since 1970). This ode to the sultan was released on Sal’s own label, the b-side is a lounge love song with funky drums but the a-side is what it’s all about. (Editors note; check out the interview with Thomas Gesthuizen aka Jumanne of africanhiphop.com with a brand new killer afro-disco mix to boot!

A) Sal Davis ‘Sultan Qaboos Song’

Slim Ali ‘Papa’s Land’ WRC

With a good dose of Reggae and Eddy Grant’s magic touch, Nigerian born Sonny Okusun had a big international hit in 79 with the political fueled ‘Fire in the Soweto’. 2 years earlier he had released ‘Papas land’ a key Africa record that had impact spanning from west to east. Kenyans own pop star Slim Ali’s version features great horns, wah-wah, moog, and sassy vocals .. this is the version I personally come back to. Released on the mystical World Records label, responsible for catering the Kenyan music market with domestic artists but also acts ranging from pre-War Señor Soul to Kylie Minogue.

B) Slim Ali ‘Papa’s Land’

Orc. Milimani Park ‘Fitina Za Watu’ M.N.R.

Famous band from Tanzania, this release was before they changed their name to DDC Mlimani Park Orchestra after a sponsor deal. Notice the name typo done by the Kenyan label press. Read Werner Graebner excellent notes on the band over at East African Music.com This number translated to “Gossip among people” is a great showcase number; fluid rumbling backbone, fierce guitar interplay and fantastic horns. We’ve glued both parts together so you can hear the song in it’s entirely .. even put in the drop noise of the needle in the start. If you are curious about other releases on the label follow the label logo graphics on bottom right.

A&B) Orchestre Milimani Park ‘Fitina Za Watu’

Sunbust ‘Black is Beautiful’ Moto Moto

kenyabooks MOTO MOTO, a subsidiary label of A.I.T records, a Kenyan distribution source for Tanzanian bands. Acts like Orchestra Dar International, Vijana Jazz, Jamhuri Jazz Band and Urafiki are frequently featured. Check out our sales selection for a roundup with audio snippets. If you have special interest check out the book on the subject of Tanzanian popular music written by Alex Perullo. We feature a 45 that was dug up by extraordinaire French digger and DJ Grégoire de Villanova. A great funky doublesider with kick ass guitar, heavy organ and drums in the mix. Some are put off by the slightly mannered vocals, but we think it rocks just as hard .. black black is beautiful indeed! Psst! If your destined to find the song on vinylt there is is also a slightly cheaper French RCA pressing.

A) Sunbust ‘Let’s Live Together’
B) Sunbust ‘Black is Beautiful’

Kamaru Celina Band ‘Mukurara Nake’ Kenya United Sounds

JOSEPH KAMARU – 1965-2013 48 YEARS IN MUSIC – AND STILL GOING ON! Backing up a dozen releases and half a million records sold, this is a name on the Kenyan music scene you cannot avoid. Like his kikuyu counterpart Daniel Kamau, JK also had his own vinyl record label imprint with KENYA UNITED SOUNDS. The success of his seventies outings ensured him a prolific career mastering all the ups and downs of the Kenyan music scene to this day. He has been performing Gospel music the recent years. Read the Daily Nation post “The memoirs of a musical maverick” and see the K24 feature “Where are they now” on YouTube. The Über funky driven ‘Mukurara Nake’ a is not a political fueled track but merely the classic emotional interaction between a man and a woman. Sung out in the Kikuyu language a man comes home to find his girlfriend in bed with another man, the disdained man is not angry, this is something he has been suspecting for some time… as the lyrics goes: Since we have known each other a little over 1 year you should know when I am mad. Look at my eyes and see proof that I am not mad. No matter what you do even if you lock the door with chairs and locks, I will still leave so the two of you can sleep together. I was so prepared, I had dressed up for you, brushed my teeth so I can kiss you but sadly now I will go home and sleep alone staring at the roof. Stop pretending that you don’t know your other lover just because am here. Stop making him look bad in my eyes because no matter what you do am leaving. Thanks to Moses Mungai for the translation.

Kamaru Celina Band ‘Mukurara Nake’

Jingo ‘Fever’ Afro-Rock

In all its splendor here is the original Kenyan ‘AFRO-ROCK’ label pressing from the mid-seventies. Let’s follow the lifespan of this song: 1977 – second pressing released in France . 1978 – Used in BBC documentary on African Music. 2001 – Compiled on Duncan Brooker’s Afro-Rock volume 1. 2005 – A remixed NYC/Cuban version with hip-hop vocals is released on Yerba Buenas Island Life album. 2006 – opens up the Last King of Scotland film, as soundtrack. 2010 – Afro-Rock Vol. 1 re-released by Strut with additional unissued material by the same artist. It could be interesting to know what Ismael himself gained from all this renowned fame. Ironically enough it seems from this deleted article that it was Kenya’s large on-going acts of music piracy that shelved his career back in the day. And sadly enough the article also tells us that Ismail Jingo passed away in Mombasa some years ago. In the light of its day ‘FEVER’ was obviously inspired by its West African contemporaries. With its catchy refrain, funky base and killer horn section it was unquestionably a hit record when it was released and to this day. Allegedly a dead rare original LP from Jingo also exists.

A&B) Jingo ‘Fever’

Orch. Bella Bella ‘Nganga pt 1&2’ Ed.Elengi

Congo band with both Kenyan and French pressings. You can find some great stories about this and others bands in Gary Stewart’s book “Rumba on the River: A History of the Popular Music of Two Congos”. Orchestra Bella Bella released this single in 1974 and the lyrics of this particular song deals with prostitution; “I Nganga, what do you want me to do. My work is my livelihood. You find me money, my brothers. I will help you” A slightly rough sounding pressing, but dig the sassy guitar play and horn-section, and the nice handmade label design of Elengi. There is also a mini bio on the group on Tim Clifford’s excellent KentanTanza vinyl site.

A&B) Orch. Bella Bella ‘Nganga Pt 1&2’

Silver Survivors experience ‘Funky Station’ WRC

About time we posted something proper funky. A Killer ghetto production with a huge break, catchy horns and a infectious moog lick high up in the mix. And wait till the trumpet solo hits in the end. We’re suspecting this might be a cover of something coming out of the US in mid seventies? The WRC label is a weird one, with local cover productions, reggae hits and a lot of mediocre disco stuff. We’re glad Nairobi native George Fombe produced this one, as nearly everything that has his name on is gold. Where is he today and who said Kenya can’t be funky?

A) Silver Survivors Experience ‘Funky-Station’

Lulus band – Nguinio nuu DK Undugu sound

One of many Lulu’s band singles. A prolific Kikuyu group that recorded for several labels, the groups private D.K. Undugu Sounds was run by the groups leader Daniel Kamau. Expect excellent loud pressing and tight production, simple funky aural esthetics’s as tight drumming, catchy vocals and a thousand dollar guitar riff! Perfect for the dancefloors of 2012.

B) Lulus Band ‘Nguinio Nuu’

L’orchestre Teke-Teke – Libala Bombanda Pasi Ed. Bonga

Another Kenyan Congolese import band. And another AIT subsidiary label. There is no information to scout on the NET whatsoever on the band, although they released three other singles on the same label. Build up around a lovely hummin’ chorus, great atmosphere and a kickass tropical guitar harmonic ostinato, listen when it goes jazzy and the horns kick in midway .. what a tune! Both part 1 and 2 from the single assembled in the audio.

A&B) Orch. Teke Teke Libala ‘Libala Bombanda Pasi’

Mahmoud Ahmed Gebtout yehon fikren MA

Massive thanks to MitMitta music for supplying us with another winner from Mahmoud Ahmed. Built up around a thriving beat, majestic horn section and a great poppy chorus, it sounds as fresh today as it did back in 1974. We are thrilled to hear that Mahmoud Ahmed is still around and performing. Next 45 update comes from Tanzania. Stay tuned! [audio:https://afro7.net/songs/Mahmoud-Ahmed-Gebtout-yehon-fikren.mp3|titles=Mahmoud Ahmed – Gebtout yehon fikren]

Mahmoud Ahmed Yefikir Wuha Temu MA

So it wouldn’t be long before we featured our first Ethiopian Track. Big thanks to our man Vemund in Addis for sorting out a trade. Mahmoud Ahmed a veteran on the Ethiopian scene for nearly five decades delivers here a great mellow soulful performance, backed up with a great rhodes lick and horn section by the Dahlack Band. Oozing with excellence and released on his own private label Mahmoud TV & Radio house. Again we’d love to hear the meaning of the lyrics, please post if you have something to share. [audio:https://afro7.net/songs/Mahmoud-Ahmed-Yefikir-Woha-Temu.mp3]

Uppers Chapter two Samari Bolga Polydor

We hit the first day of 2012 with this brilliant track from The Uppers hailing from Ghana. Unfortunately we don’t have much information on them except their former band name was Uppers International and they released a couple of singles on Polydor. With a mellow groove, keys, funky drumming and a jazzy trumpet and tenor-sax solo the scarce 2.50 track-time will have you wanting more. Also we’d love to know what the lyrics are in English, post a reply if you can translate. [audio:https://afro7.net/songs/Uppers-chapter-two-Samari-bolga.mp3|titles=Uppers chapter two – Samari bolga]

Orch Sombo Sombo Sombo Sombo Tsavo

Happy X-MAS to all our followers! Here is a track on the polygram subsidiary label Tsavo. For those of you who are familiar with the name your reference might be the Kenya national parks; Tsavo east and west. Although the name has a more dreadful meaning in Kikamba, check the facts on Wikipedia. This Lingala track from Orchester Sombo Sombo is all about joy and has all the right ingredients for a party number. A great guitar lick, dirty horns and cool vocals! Enjoy! See you in 2012! [audio:https://afro7.net/songs/Orch-Sombo-sombo-sombo-sombo.mp3]

A) Orchestra Sombo Sombo ‘Sombo Sombo’

Orch Conga Internationale Nakupenda Sana Ed. Nana

Johnny Bokelo, the counterpart of Congos renowned Franco Luambo had a belt of labels and groups during the seventies and eighties. Like many other Congolese musicians he went to Kenya to finance and release his music. In this case, the song “Nakupenda Sana” is sung in Swahili, meaning again “I love you ..” A tight guitar lick, thematic horns with a neat breakdown. Somewhat reminiscent of a Manu Dibango tune. If you heard it before it was booted with a bogus name on a French 70’ties lp called Kouloukoko du Zairie.

B) Conga Internationale ‘Nakupenda Sana’

Green Rovers Band Utapendwa na nani/Masikini

The Green rovers, a band that released several 45’s with some of Kenyas biggest labels. One of their better tracks is this very righteous take with the AIT subsidiary label Moto Moto. A cool baseline hook with a sweet vocal chorus and an underlying synth line. Even the drummer get’s his due in the cue! ‘Dynamite’ indeed. Over to the translation section, Masikini means in Swahili “unfortunate” The message of the song is be grateful for what you have, don’t try to get more on behalf of other people. Then you heart is black. And that message still packs a punch today, 33 years later. Enjoy!

A) Green Rovers Band ‘Masikini’

Bernard Ntone ‘Mussoloki’ ASL

Sometimes you find something special, this is one of those tunes. Funky base, a nice guitar lick and a crazy cool vocal effort. It has this melancholy vibe. I bet he is singing about a lost girl or a failed marriage. Pressed on the prolific east African ASL label that had signed a wealth of artists from Congo to Tanzania. Focusing on Lingala and rumba music. Mr. Ntone however originates from Cameroon that also explains the French Fiesta label release of the identical tune. All in all a top notch track for a DJ’s who wants to spice up their selection.

B) Bernard Ntone ‘Mussoloki’

Hafusa Abasi & Slim Ali Sina Raha/Hayes Mawazo

We open this blog with a 45 I found in Linkoni outside Mombasa Kenya in 2007. It was stored by a woman who had a coastal distribution business of recorded music back in seventies and eighties. There was shitloads of 45’s there all stacked in three meter towers. I only had a few hours so I grabbed out about 10 singles and headed back on the ferry over to the mainland. Sorting out my find later that day I realized I had found something special. Since 2007 this track has been featured in several mixes so the cat is out of the bag so to speak. If you haven’t heard it yet it’s a quality double sider from the coastal province of Swahili land Kenya. Fused with Arabic elements and a genuine funk twist supplied by maestro Slim Ali himself. Check out the tracks. B) Hafusa Abasi & Slim Ali ‘Sina Raha’ and ‘Hayes Mawazo’ We also hope that you check out our blog in the future as there will be new Kenyan 45’s added every week!