Tag: funk

Amabano ‘Amsterdam Ticket’

Even though African music of the past four decades is being rediscovered, catalogued and reissued by foreign labels at an accelerating speed, music from the East-Central African nation of Burundi remains somewhat of a blind spot to collectors who are not from the region. Western audiences have long associated the country with pop hits by singer Khadja Nin (based in Belgium since 1980) or even with Burundi Black (1971), the worldwide hit by French pianist Michel Bernholc (alias Mike Steiphenson) that sampled a recording from 1968 of traditional Burundian drumming. There are two vinyl releases from 1980 and 1987 that hint at the unknown history of Burundian pop music, records that have gained grail status among collectors, even though the story behind those LPs has never been told in full.
The first is a 7-LP box, released by Radio Nederland in 1980 (only 80 copies were made), containing the 100 entries to a band competition that the station organised for undiscovered talent from the Francophone African region. Among them was Amabano, the group that would become one of the two winners of the Concours du Moulin D’or (Golden Windmill contest), and who were invited to pick up their trophy, tour and record an album in a well-equipped studio in the Netherlands. The four tracks featured on the promotional vinyl are dreamy, mid-tempo psych-funk grooves with a touch of jazz and rumba, sung in the Kirundi language. The other LP, by the same group, was released in 1987 on the Soviet Union’s Melodiya label in two different editions, each limited to 1000 copies, and now near-impossible to find. ‘Gasuku’ was not a delayed release of their previous Dutch recordings, but a new set of songs, put to tape by a Soviet team that had travelled Burundi for the occasion. Like their 1980s contest entries, the ‘Gasuku’ album had a musical approach that was deeply rooted in psych, funk and rumba of the 1970s.

The remarkable story behind these records started in East Africa in the ’70s, when young musicians Africanova (Antoine Marie Rugerinyange) and Niki Dave (David Nikiza) were involuntarily exiled due to the civil war in Burundi. Both started a string of gigs with bands in Rwanda, Tanzania and Uganda. Africanova even was a member of the Suicide Revolutionary Band, a large army ensemble, along with Idi Amin’s later wife Sarah, until life under Idi Amin’s reign became too unpredictable. They ended up working together in a seedy nightclub in Kenya, in Nairobi’s River Road. Africanova was a multi-talented musician with a penchant for Congolese rumba, while Niki Dave would become known as a singer specialised in soul and funk. Their band was called the Afro Kids and featured members from Burundi, Congo and Kenya. By 1977 they found themselves recording a full album, which remains unreleased, and two singles, including the psych-funk title ‘Shoreza inyange’, which would make them superstars in Burundi and Rwanda. On the strength of these hits, they were invited by the state-owned national radio of Burundi to come back home for a tour. The first gig, using the new name of the Explorers, was sold out, and many more followed. The band’s unprecedented success quickly became an argument for the government, proving to the thousands of exiled Burundians in neighbouring countries that Burundi had become a safe place for them to return to.

In 1978, the Explorers signed with the Ministry of Information to become the state-sponsored house band of the national radio station. They picked the new name of Amabano, and musically their base of funk, soul and rumba, sung in a multitude of languages, absorbed a lot of influence from Burundian traditional music, and the Kirundi language would be heard in many of their songs. Winning the Moulin D’Or award, and the subsequent European trip in 1980, elevated their status as Burundi’s number one orchestra. In the next five years, they would feature prominently on radio, television and representing the Burundian state during international conferences. At the time, Burundi did not have professional music studios, and the only alternative to travelling abroad to record was to use the limited facilities at the radio station. Although Amabano received carte blanche to order their preferred musical equipment from abroad, there was nobody around to produce an album according to their standards. They contemplated another trip to Europe to record a full album, as their previous effort with Radio Nederland remained unreleased. Ultimately it was through the friendship of a Burundian government minister and the Russian ambassador that another plan was put into practice: a Russian team would come down to Bujumbura, record the band and then mix the album back in the USSR. The session was indeed released in the Soviet Union, by the state-owned Melodiya which was equally at home releasing major Russian pop bands and small-run pressings of regionally known bands by ethnic minorities within the USSR. It’s not known what the intended audience was for the Amabano LP, but it did nothing to catapult the band to international fame; the musicians were not even aware of the album’s release, although a copy was sent to Burundian radio.

While the Soviet Union was about to experience radical political changes that would affect the Melodiya label, back in Burundi there was also a change of leadership that resulted in the total lack of promotion of the Amabano album. The regime of president Bagaza was removed during a military coup during the same year the LP came out. Under the new government, conditions were not very favourable for Amabano. In 1990 the band left the radio and split up. The former band members continued to be active as musicians, and Africanova had success as a solo artist and running a music studio before he moved to Ivory Coast, and later to Canada. Niki Dave had left the band shortly before Amabano travelled to the Netherlands, and continued making music until his untimely death in 1992.

Today Amabano and its members are fondly remembered by many for their musical legacy that unified people in Burundi as well as neighbouring Rwanda across ethnic, economic and age boundaries. Apart from cassettes and CDs of their recordings in the studio of the Burundian national radio, their music has remained out of print until the current re-release of the Amabano LP (now called ‘Amsterdam Ticket’ after one of the songs on the LP, composed by Manu Dibango for the Radio Nederland contest), and the accompanying 45 RPM reissue of a single by the Afro Kids.

The full album LP with insert and the single can be bought seperate through our music shop, with reasonable worldwide shipping prices, use this link to buy directly from us, we also have other Afro7 releases available.

Afro7LINK TO SNIPPETS from the Amabano ‘Amsterdam Trip’ LP
LINK TO SNIPPETS FROM Niki Dave & Afro Kids Shoreza Inyange and Amayaya SINGLE

The Cranes ‘What’s Love/Joy’ Afro7

The Cranes were one of Uganda’s most popular teenage bands in the 1970’s. Founded in 1965, they metamorphosed at the end of the 1970’s into the Afrigo Band which is still, up to today, the number one band in the country. What’s love and Joy, both written by singer and guitarist Tony Senkebejje, appeared in 1974 on the only Cranes’ LP ‘Top Ten Hits’.
When the album hit the record stores in Kampala, bad luck had befallen The Cranes. A month before the recording of the album their bass player Jessy Kasirivu was killed because of President Idi Amin’s amorous association with his girlfriend. Senkebejje, scared for his life, fled to Kenya, only returning to Uganda 15 years later. The song What’s love describes how confusing love can be to a young soul and is partly inspired by Kasirivu’s death. Joy is a love song for Senkebejje’s wife Rachel who followed him to Kenya and who has been singing lead and playing guitar with him in their Simba Sounds Band ever since. Both songs feature prominently in the documentary Bwana Jogoo: the ballad of Jessy Gitta (2019 – 70 min – UG/NL/FR) which investigates the death of Jessy Kasisirvu at the hands of Idi Amin‘s State Research agents. Bwana Jogoo, directed by Dutch filmmaker Michiel van Oosterhout, showcases many great 1970’s songs from Uganda while letting Uganda’s musicians of yesteryears recount fond memories of one of their own, Jessy Kasirivu. These are the folks that worked and socialized with Jessy and knew him better than most. Their accounts of the events that led to Jessy’s disappearance are riveting and haunting. It lays bare a hitherto unexplored subject and one deserving of serious interrogation and scholarship – the naked power of authoritarianism and sexual predation.

Afro7A) The Cranes ‘What’s Love’
B) The Cranes ‘Joy’

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!

Afro7A) Etuk Ubong ‘Black Debtors’
B) Etuk Ubong ‘Collaboration of Doom (C.O.D.)’

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.

MU-AFRICAA) Rift Valley Brothers ‘Mu Africa’
B) Rift Valley Brothers ‘Uhiki Wa Nduru’

Loi Toki Tok ‘Chakacha/Mungwana’ Afro7

Loi Toki Tok band started out as a nondescript musical group. But irrefutably, the band’s star scaled the heights and shone brightly on the early 1970s Kenyan capital, Nairobi’s burgeoning live music circuit. And basking on the top of the pops charts, was vocalist/multi-instrumentalist Leon Kabasela aka Kalle. He also doubled as band’s composer and songwriter – earning credits for among other tracks, this mellow ‘ballad’ aptly titled Mungwana – loosely translated in Swahili, is descriptive of a selfless and conscientious gentleman. Kalle is one of handful surviving remnants of the band, whose lifespan was somewhat short-lived. It lasted barely three years – circa 1971 to mid-1973. Mungwana’s lyrics, sang in Congolese lingala dialect, mirror his roots and musical dream, which lured the youthful artiste during late 1960s to pack bags, and desert the rural fringes of Lubumbashi – then Zaire’s second largest city. On the 45 single flipside is a soulful, funky hit Chakacha – a seemingly timeless afro-soul flavoured cut. Its catchy and hypnotic lyrical refrains, easily grow on the listeners. The vocals of the band’s one-time frontman, singer Kasim Combo, ooze with an unmistakable tinge of late 1960s to early 70s American soul rhythms, propelled onto the global showbiz spotlight by US pop stars Otis Redding, James Brown and Jimi Hendrix. Their popular hits gained massive, almost staple airplay on Kenya’s then sole broadcaster’s twin national radio stations. The fact that this record was pressed on an obscure Athi River label, is perhaps symbolic of Loi Toki Tok’s last band phase – shifting base from Club Arcadia in the heart of Nairobi, to the Small World Club in Athi River – an equally nondescript urban town, tucked away along the Mombasa highway. This and two other singles are now available again from afro7.net. head over to the shop and grab your copy. Special thanks to Rainer Windisch @ konzeptlos.org for the Mungwana transfer!

Afro7A) Loi Tok Tok Eboma ‘Chakacha’
B) Loi Tok Tok Eboma ‘Mungwana’

Francis Njoroge ‘DAI’ Turbo

silverjubileebuyBy the time multi-instrumentalist Francis Njoroge released his first solo single, he’d already been recording for more than a decade. An early trace of his musical activity is found on a classic Zamrock album ‘Soweto’ by Rikki Ililonga, recorded in Nairobi and released in 1977. A founding member of Afro disco/funk/rock group Makonde, it’s the track ‘Manzara’ (catapulted to b-boy classic by Afrika Bambaataa and Jazzy Jay back in 1977) that’s become Francis’ most well-known song worldwide, although until recently he was not even aware of the fact. When Makonde broke up in between a European tour and a US gig that never happened, he joined the African Heritage Band, one of the hot new names on the Nairobi live scene at the dawn of the 1980s. Shortly after a European tour he quit the band to take up a gig at a new night club in town. Together with fellow Makonde veteran Sammy Kasule he then formed a new group called Radi whose music leaned on boogie-funk. Another project in the ‘80s was Jabali, whose ‘Folk Song (Kanyoni)’ was an audience favourite. Musically it sounds like a stepping stone towards the sound on ‘Dai’, with its drum machine, synth bass and poppy arrangement. The latter was a full-on dancefloor oriented track that came with a dubby remix on the flipside. And where ‘Folk song’ mixed English and Kikuyu lyrics, Dai (‘riddles’) was all Kikuyu: a lyric urging the young generation to maintain the tradition of telling riddles. Originally released on the small Turbo label as a 45, it had disappeared into oblivion until last year when we dug up a copy in a Kikuyu ex-DJ’s private collection in a wooden cottage outside Nairobi.

Afro7A) Francis Njoroge ‘Dai’
B) Francis Njoroge ‘Dai’ ReMix

Jimmy Mawi ‘Vero/Broken Love’ Razaka

malagasyAs 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.

Mombasa RootsA) Jimmy Mawi ‘Vero’
B) Jimmy Mawi ‘Broken Love’

Sunbust ‘Black is Beautiful’ Moto Moto

kenyabooksMOTO 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.

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

Cassim Combo ‘Chakacha’ Athi River

handclapsSo here’s my absolute favorite kenyan 45. It’s actually a very odd and obscure afro soul masterpiece, with the catchy and hypnotic vocals ‘Chakacha… Mombassa’ that does the job… what else do you need? Maybe some handclap with that? Yes indeed! This 45 pressed on ultra rare kenya label Athi River was made by Loitoktok Eboma, with his band called Cassim Combo. The b-side of this record called Wild in Bush is also killer, but I’ll keep it for later… Thank you and please just enjoy!

Athi RiverA) Cassim Combo ‘Chakacha’
B) Cassim Combo ‘Wild in the Bush’

Fathili & The Yahoos Band ‘Mabala’ Matata

antsuckerDug up by Duncan Brooker in the late 90’s, and later to be compiled on the first wave of Africa rare groove-comps; AFRO-ROCK on Koda an Strut. ‘MABALA’ is a Kenya instrumental funk classic! Layered with spacey Moog effects, a bluesy guitar lick, stripped sax and cool spoken female vocals it showcases the Yahoos in great form. A band who have several noteworthy releases on different labels, note the Taarab collaborations with vocalist Hafusa Abasi. Their largest output however was on the Matata and KWE labels. Judging from the musical output of these labels I’ve come to believe the band was performing in tourist circles, if anyone have any more history of the Yahoos band please let us know.

Fathili & The Yahoos Band ‘Mabala’matata

Jingo ‘Fever’ Afro-Rock

boat2In 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’

Gessesse & Mulatu ‘Tiz Alegn Yetintu/Emnete’ Philips

haileselassieThere is something very appealing about these early Ethiopian Philips singles. Especially with the picture sleeve. They often come with a very high price tag, if it’s in the right condition. Musically a league of it’s own. This monster of a doublesider showcases Mulatu Astatke at his creative peak. He had just returned back to his homeland from the US ready to shape what later became the Ethio-Jazz sound. Here in a collaboration with the renowned Ethiopian singer Tilahun Gessesse, who he also recorded several other great singles with. You can find them over at Peter Piper’s great Modern Ethiopian Music Discographies. ‘Emnete’ was reissued on 10′ SNDW10001 by Soundway. ‘Tezalègn yétentu’ is avaiable on éthiopiques-17: Tlahoun Gésséssé from Buda Musique.

Gessesse & Mulatu ‘Tiz Alegn Yetintu’
Mulatu ‘Emnete’Philips

Said w/ Wyne Barnes ‘Asante Sana” Studio Sawa

holoniteYou can image what kind of influence Manu Dibango’s mega hit ‘SOUL MAKOSSA’ had on this slice of  East African Disco funk. In typical Kenyan fashion, the common phrase “ASANTE SANA” is used repeatedly in the  refrain. Meaning “Thank you very much” and with the included cheeky female sexual groans you can do your own further conclusions on the lyrics. Both sides in one mix. Enjoy!

Studio Sawa SoundA&B) Said w/Wyne Barnes ‘Asante Sana’

Latapaza Band ‘Maziwa ya chai’ Sirocco

Digging through thousands of Kenya 45’s has proven one certainty, labels marked “Afro rock” provides positive results and usually in a funky manner. In this case, a full on quality double sider from Latapaza Band. The single was unearthed sometime in the 90’ties by Duncan Brooker, if you haven’t read the story check out this 2001 Guardian article on his ventures in Kenya. He released the b-side here ‘Odi-yo’ as a Kona promotion 45 for the forthcoming Afro-Rock 2 sampler, a compilation that never came. A shame because this stuff really hits the spot, some great guitar work featured and a catchy vocal effort on both sides of the 45. Produced by Love peace & happiness .. check!

SiroccoA) Latapaza Band ‘Maziwa Ya Chai’
B) Latapaza Band ‘Odi Yoo’

Band Sauti Popote ‘Adam na Hawa pt1&2’ Ruhia

We haven’t found any information on the label nor the artist here, looks like a private one off. Great label design, is that a horn upside down? The music speaks for itself here, a religious Kikuyu duet with a great slab of horns and funky guitar drive. In tradition of similar sounding Kikuyu groups at the time (Lulus band, Rift Valley bros) the sound on the b-side is nearly all instrumental. Note the funky change-up at 1:35 and wait for the bass solo! This smells of dancefloor potential. Probably from around mid seventies 75 or 76. Enjoy!

[audio:http://www.afroseven.net/songs/Band-sauti-popote-ithui-riu-pt12.mp3|titles=Band sauti popote – Adam Na Hawa pt1&2]

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.

Editions NanaB) Conga Internationale ‘Nakupenda Sana’

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’ASL

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!

A) Hafusa Abasi & Slim Ali ‘Hayesh Mawazo’
B) Hafusa Abasi & Slim Ali ‘Sina Raha’ WRC