Tag: kenya

Sportsman promotion single sung in ‘Swahili/English’

Happy new years, we’re back and it’s 2022, we promise to update the front page a little more often with new posts of vintage songs from the East African diaspora. Sportsman – a Cigarette brand from BAT (British American Tobacco company) which has been in the market for over 85 years and is sold in various Eastern Africa markets including Kenya, Uganda, and Somalia. So jack up a pack of Sportsman in the true sportsman fashion and you should be ready for any sports, and if lucky you can win a business worth 1000k Kenya shilling! This and many other singles are on this months monthly auctions at eBay, check ’em out here.

SportsmanA) SPORTSMAN ‘Sung in Swahili’
B) SPORTSMAN ‘Sung in English’

Heartbeat of Africa ‘Musical Rituals of the Giriama’ SAPRA

Side 1 a) GONDA: A bewitching dance for young adults. Girls don ostrich-feather Head-plumes and enticing skirts. Others wall as drums pound out rhythms in dramatic bursts of energetic ferocity. b) LUMBOMBOMBO: The ‘Lumbombombo’ is a very rare one-stringed violin. In this song the singer praises his skills as a player in an almost-forgotten-melody. c) MUCHECHEMEKO: Calabashes, flutes, tins, rattles and drums combine to create an erotic atmosphere on the shores of the Indian Ocean. d) SPIRIT DANCE: In the middle of the night, a witch doctor encourages a patient to shake to the medicine of the drum. Hysteria follows.
Side 2 a) KAYAMBA: The most famous of all Giriama dances, featuring the weird, wonderful ‘Bungo’ horn.b) MWANZELE: The strange, eerie sounds, often used at funerals, created by metallic percussion.c) EARLY HOURS SPIRIT DANCE: The spirit of the drums gather momentum, hotter and hotter, as the night becomes day. d) KAYAMBA FANTASTIQUE: A larger horn bellows forth in brilliant improvisation. e) GIRIAMA FINALE: A sensational beat erupts with bursts of the ‘Bungo’ horn, then dies away into the wilderness.

Press to hear SIDE A of the single
Press to hear SIDE B of the single

Heartbeat of Africa ‘ Drums of Africa’ SAPRA

Side One 1. KILUME DANCE, of the fun-loving Akamba people, is sedately energetic and traditionally restricted to elders-of both sexes-of this large Kenya ethnic group. 2. TYPICAL OF BORDER DISTRICTS of Uganda and the eastern Congo is this enchanting beat, played by two leisurely drummers as evening falls. 3. SPIRIT-EXORCISM, a rhythm of Kenya’s Teita people, in a rare, secret ceremony called “upepo” 4. GAY GIRIAMA, of the Kenya coastland, play their drums under the palms when the hot African sun makes work a burden.
Side Two UGANDA DRUMS, in a banana grove outside Kampala, capital city of one of Africa’s most beautiful countries. 2. CHUKA DRUMMERS, from Embu District, Kenya, perform precise and measured dance movements, carrying their tall drums between their legs. 3. ABOARD A DHOW, sailors celebrate a home-coming with happy rhythms. 4. KAMBA DRUMMER-some of Africa’s most accomplished-are urged on by dance leaders eager to call villagers into the moonlight.

Press to hear SIDE A of the single
Press to hear SIDE B of the single

Heartbeat of Africa ‘ African Folk Music’ SAPRA

Side one 1. AKAMBA, of south-eastern Kenya, sing the “ng’eta” and stomp out the strond rhythm of a traditional dance. 2. ABALUYIA GROUP, with Africa’s one-stringed fiddle, and a song hummed by a contented villager at nightfall. 3. FROM THE KIKUYU PEOPLE, a song in praise of their leaders is sung by a gaily-attired group of women, in typical style after harvesting. 4. CONCH-SHELL HORN, played in this strange style, can be heard at the Kenya coast as ferry-boats are hauled across the wide creeks. Side Two 1. LUO TROUBADOUR, representative of Kenya’s second larges ethnic group, sings to his “nyatiti” harp accompaniement. 2. MASAI YOUTHS, as they tend thei cattle, extemporize with warrior dreams and ancient battles. 3. KURIA ELDER; with his single-stringed instrument, tells the district new as he strolls along a northern Tanzania country road. 4. TIRIKI MUSICIANS, from western Kenya, sing wryly of their cattle and provide an interesting example of sophisticated African rhythm.
Press to hear SIDE A of the single
Press to hear SIDE B of the single

Heartbeat of Africa ‘Animal Voices of Africa’ SAPRA

Side one 1. LIONS: Lionshave just brought down a wildebeest and are roaring triumphantly over the kill. As they begin to tear their victim to pieces, they snarl and growl at each other. 2. ZEBRAS: Zebras have got the wind of a lion, and their excited barks can be heard from near and far. 3. WILD DOGS: African wild dogs hunt in packs. When at play or fighting among themselves they utter chitting and twittering sounds. 4. LEOPARD AND BABOONS: The harsh, sawing call of a leopard is answered by a male baboon’s bark of alarm. The spotted cat snarls, and the whole troop of baboons jabbers with excitement.
Side two 1. ELEPHANTS: Human scent has alarmed a herd of elephant. The animals are screaming, trumpeting and grumbling. 2. TREE HYRAXES AND COLOBUS MONKEYS: From the treetops of the forest come the eerie calls of the tree hyraxes and the throaty, throbbing chorus of the colobus monkeys. 3. RHINOS: In dense bush country we come across two mating rhinos and hear their gentle squels and harsh snarls. 4. HYENAS: A lion has made a kill and hyenas bgin to circle around him. We hear their howls as well as the uncanny laughter to which they give vent in high exciement. 5. HIPPOS: Hippos blowing and snorting as they float practically submerged in the water.

Press to hear SIDE A of the single
Press to hear SIDE B of the single

Heartbeat of Africa ‘Birdsong of Africa’ SAPRA

Side one 1. GREATER FLAMINGO (Phoenicopterus ruber): On many saline lakes of East Africa’s Great Rift Valley the Greater Flamingo’s beautiful deep-crimson wings, with their black flightfeathers can be seen. But here is recorded the rare and remarkable sound of a breeding colony, with young. Distribution: Throughout eastern Africa.
2. FISH EAGLE (Cuncuma vocifer): A sound which is very essence of Africa, as blackwingled male and female call and respond in their breeding territories near lakes, rivers and coast. Distribution: From Senegal, southern Sudan and Ethiopia, throughout East, Central and Southern Africa. 3. TROPICAL BOUBOU SHRIKE (Laniarius aethiopicus): A veriety of calls from different races of this bird-beautiful bell-like notes as male and female sing in duet. Distribution: Kenya, Uganda, Tanzania, SUdan, Ethiopia, SOmaliland, Sierra Leone, Nigeria, Cameroun, Congo Kinshasa, Zambia, Malawi. 4. SLATE-COLOURED BOUBOU SHRIKE (Laniarius funebris): In dry thornbush country, slate-black male and female sing attractive duets. Distribution: Tanzania, Kenya, Uganda, Somaliland, Ethiopia, Southern Sudan. 5. DIDRIC CUCKOO (Chrysococcyx cupreus): This small, beautiful cuckoo-its upper parts metallic emeral green and bronze and with a white eye-stripe – often varies its call throgh the seasons. It is parasitic, but takes on its young for feeding after they have left the nest. Distribution: Ethiopia, southern Arabia, Sudan, throughout eastern Africa to southern Africa. 6. RED-CHESTED CUCKOO (Cuculus solitarious): Although this cuckoo is large, it is frequently difficult to observe in tree branches, with its camouflaging chestnut-coloured chest. Sometimes called “the rain bird”. Distribution: Gambia, Sudan, Ethiopia, Kenya, Uganda, Tanzania, through to southern Africa. Side Two 1. SPOTTED MORNING WARBLER (Cichladusa guttata): Despite its common name, this is not a Warbler at all, but related tot the Trush and is one of Africa’s finest songsters and mimics. Whistle at this little bird and it will usually answer. Distribution: southern Ethiopia, southern Sudan, Uganda, Kenya, Tanznia. 2. BLACK-THROATED HONEY GUIDE (Indicator indicator): The male of this interesting species is brownish-grey above, with a distinctive black throat patch, and it havitually tries to lure human or honey badger towards honey bees nests. From tree to tree it flits, chattering and waiting for its followers to catchup. If honey is found, then you must share some with the bird, or trouble will befall you, runs the legend. The song recorded for this disc is its normal treetop melody. Distribution: Senegal, Ethiopia, Uganda, Kenya, Tanzania, Congo through to South Africa. 3. RUPPELLS ROBIN-CHAT (Cossypha semirufa): A fine songster, favouring woodlands and gardens, this handsome bird is also a beguiling imitator of other species. Distribution: Ethiopia, southern Sudan, Kenya and Tanzania. 4. BLACK-HEADED ORIOLE (Oriolus larvatur): Distinctively golden yellow, with head and wings black, its call is also unmistakable. Distribution: Sudan, Ethiopia, southern Somalia, Uganda, Tanzania, Kenya, Malawi, Rhodesia, Mozambique to the Zambesi River. 5. CROWNED PLOVER (Stephanibyx coronatus): This noisy call warns other birds and animals of the stranger’s approach. Distribution: Ethiopia, southern Sudan, Uganda, Kenya, Tanzania, Zambia, Malawi to South Africa. 6. GREEN WOOD-HOOPOE (KAKELAAR) (Phoeniculus Purpureus): A large bird, which tumbles around the trees in small, noisy groups. In sunshine, the male’s iridescent upper parts gleam greenish-black, its throat deep blue and the remainder of the spectacular plumage, purple. Distribution: Uganda, Kenya, Tanzania, Malawi, Congo Kinshasa to the Zambesi River, Sudan, Ethiopia.

Press to hear SIDE A of the single
Press to hear SIDE B of the single

Heartbeat of Africa “This is East Africa” SAPRA

From the heart of untamed Africa, where savage nature still reigns supreme, comes this spell-binding series of records which have captured for you-in brilliant hi-fi the stirring sounds you thrilled to during your safari.
Re-live the fascinating excitment and the majestic grandeur of breathtaking Africa unspoilt by the hand of civilisation.

Heartbeat of Africa will conjur up for you, again and again, vivid pictures of growling lion and trumpeting elephant, snarling leopard and lumbering rhino, the rhythmic jangle of tribal dancers, the vibrant throbbing of African drums, the voluptous melodies of tropical birds, and all those memorable experiences which will carry you back, in rapturous transport, to the enchantment that is Africa.

Press to hear SIDE A of the single – 1 Animal Voices of Afria; 2 East African Birdsong; 3 Night at Treetops.
Press to hear SIDE B of the single – 4 East African Drums; 5 Safari Song; 6 This is East Africa.

Yaseen & Party 60’s taarab compilation from Yaseen Mohamed Afro7

‘Harambe’ by Mac & Party was one of the most interesting recent rediscoveries of Kenyan taarab from the past decades. An English language taarab song with the prominent presence of an early synthesizer, it sounded unlike any other Kenyan music that came out during the 1960s and ‘70s. Initially, when trying to license the track for reissue in 2016 (Soundway’s ‘Kenya Special volume 2’ and the 45 RPM reissue on Afro7), we didn’t have much luck in finding out who had recorded and composed the song, or even when exactly it had come out. Comparing discographies of the original label, and listening to other songs that were close enough by catalogue numbers, it appeared to be the work of the late singer/composer Yaseen Mohamed. His sons were able to confirm that it was their father singing on those singles, that Mac & Party and Yaseen & Party were most likely the same band, and that the recordings were done in the early ‘60s.

A closer look at Yaseen Mohamed’s legacy reveals that he was an important figure in Kenya’s taarab music of the 20th century. Between his first 78 RPM record, which came out around 1947, and the last single released in the mid-sixties, his discography spans nearly 50 confirmed releases, and possibly many more collaborations that he was not credited for.
Yaseen was born in Mombasa in the 1920s. His parents were of Omani heritage. Growing up he joined the British colonial army, which allowed him to travel around the region and soak up a wide variety of cultural influences. During Yaseen’s youth, recorded taarab music had become popular across the region, pioneered by a group of musicians from Zanzibar whose musical output from the late ’20s and early ’30s set a trend.

Socio-economic changes in the colony during the 20th century, which transformed Mombasa from a Swahili town of less than 30,000 people, reigned by the sultan of Zanzibar, into a metropole in the newly independent country of Kenya, had a major impact on music culture. These changes were mirrored in the evolution of taarab between the 1920s and ‘60s. Yaseen’s early work is a patchwork of stylistic influences from Indian and Egyptian film melodies, Cuban son, and trendy dance styles such as the twist, mambo and samba, all thrown in the mix with a traditional taarab combo line-up of vocals, ud and percussion. He would later be quoted as saying that “there is no certain thing which is taarab. Even rock is taarab if people just sit and listen”.

By the early ‘50s, Yaseen had joined Assanand & Sons (Mombasa) Ltd., a shop selling musical instruments and 78 RPM records, which was quickly being developed into Mombasa’s most popular music studio. Yaseen was an all-round member on the team, recording his own music, performing as a session musician, acting as a studio technician, and scouting new talent for Mzuri, the in-house label. Apart from singing and composing he became a master of the taishokoto, a musical instrument of Japanese origin which was introduced in Kenya in the 1940s. During this time he started recording with his wife Saada (credited on releases as ‘Mimi’), who joined him on the stage during live single mic set up in the storage room at the back of the Assanand shop.

Yaseen, Mimi and their band were at the forefront of innovation in Mombasa taarab; their small-band approach with newly introduced instruments such as the (amplified) taishokoto, accordion, and the Clavioline, a predecessor of the synthesizer, sounded quite different from the big-band taarab approach of orchestras that were around during the 1940s and ‘50s. Their short songs (limited to 3 minutes per side for 78 RPM releases, and a bit longer when Mzuri started pressing on 45 RPM singles) appeared easy on the ear, but the lyrics were rooted in the intricate Swahili poetry that had been popular among the East African coast for centuries.

In 1962, Yaseen and Mimi got their first child, a milestone described in ‘Nimepata mwana’. From then on, Yaseen focused on working regular jobs, while music remained a hobby. They struggled to make ends meet though, living with their four children in a single-room apartment in Mombasa’s inner city. While Yaseen was of Omani heritage, Mimi’s parents were Digo, a people from coastal Kenya who were discriminated against during the colonial era. Yaseen’s close family didn’t accept Mimi and her kids into the family. In 1972, Yaseen left Mimi and the children to take up work in Oman, which had just started a transition from one of the middle east’s most traditional societies into a modern Arab oil-fuelled economy. Yaseen’s professional skills as an electrician and a mechanic were welcomed as he joined thousands from the Omani diaspora in East Africa in occupying the work force. Despite continuing to make music in his pastime, performing on national television and radio with his taishokoto, and composing a song for sultan Qaboos, he didn’t record any more music. Yaseen returned to Mombasa to visit his wife and sons every few years, and he intended to retire bring the family over to Oman, but he passed away in 1985. By that time, the Mzuri label and Assanand shop were long gone, and the production of taarab in Kenya had started a decline that has nearly decimated the Mombasa scene by 2019. A few of Yaseen’s songs were featured on foreign compilations, some of his recordings can be found on bootleg CDs in Mombasa, but only some of the older generation in Kenya are aware of the remarkable legacy and the impact that Yaseen and his wife have had on Kenya’s coastal music.

The full album LP with 4-page fold-out insert with extended liner notes 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 SONG SNIPPETS from Yaseen & Party Compilation LP
LINK TO SONG SNIPPETS from the Single Mac & Party Zandale and Kiss to Kiss single

Various CBS EP 1980’s

It’s a been a long while with no posts at all, and what about all those dusty Kenyan 45’s that are lying around that need another review or a bigger audience? Well, there has been so much other stuff going on that we’ve (we? Well it’s just me, one guy) just haven’t had time to do it. I promise more focus on this in the future with a fresh blog post on a regular basis. We generally put up new vintage singles in our music shop every week, so check in on the shop through this link every Friday! What we have now is the last in line of a series of special DJ twelve inches we’ve been doing for the last years.

Let me tell you about this one: the label these songs originally came out on was CBS Kenya, a local franchise of the American Colombia records which focused on local artists and imports to the Kenyan market in the late seventies and early eighties. With local pressing facilities at hand, there’s a number of international big names whose music got released on the Kenyan CBS imprint, ranging from Madonna and ABBA to Queen, and even Pink Floyd. There are also West- and South African and Caribbean artists, such as Caiphus Semenya, True Tones and Bunny Mack. For this release we focus on disco, boogie and reggae by local artists. The familiar Black Savage band (see AFR7-LP-03) is featured as opening act on this EP with their very last recording. By the time ‘Fire’ was put to wax, only band leader Gordon Ominde was left of the original line-up. Here he teamed up with Ali ‘Rastaman’ Magobeni, another veteran of the Kenyan music scene, for a reggae crossover sound that could fit a hit in the Kenyan music market of early 80’s.

In the early years of CBS Kenya, before the ‘Fire’ single was released, Nigerian Desmond Majekodunmi was at the production helm running the CBS recording facilities. His Nigerian/American wife Sheila was a profiled singer in Nairobi at the time and the couple had several recording dates in Kenya. We’ve picked one that has a slightly quirky disco backing, but with the great voice of Sheila Majekodunmi in front. Read the full story of the Majeks in this write-up by renowned Nigerian music journalist Uchenna Ikonne, following Superfly Records’ recent reissue of their late 80’s Nigerian Polygram album.

Flip the 12 inch and you’ll find two great cuts by the mysterious OVID group. In coastal fashion, the lyrics to ‘Karibuni’ were aimed at tourists: “Welcome, welcome to Kenya”. The drum machine vamp and vocals serve as the intro to a more electric club cut with nice soulful vocals. ‘Operator’ is an uplifting reggae track.

All tracks on the 12 inch have been mastered by Frank the Carvery for club play. Get your copy where good music is bought, or online through our shop.

Afro7A1) Black Savage ‘Fire’
A2) Sheila and Desmond Majek ‘Got the Feelin”
B1) OVID ‘Karibuni’
B2) OVID ‘Operator’

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!

Afro7A) David Waciuma & Rapture Voices ‘Devil Go’
B) David Waciuma & Rapture Voices ‘Jesu Kristo’

Them Mushrooms ‘A Little Love/Akumu Nyar Kisumu’ Polydor

Finally back with a blog post and it’s the release day of the special Them Mushrooms EP. Kenyan musical journalist Emmanuel Mwendwa has written a nice little article about the band, read it here. If you want to get your hands on our new twelve you can order direct from us, or you can check out what shops stock our releases in this interactive map. Here is the original single that has the cathcy ‘A Little Love’ and ‘Akumu Nyar Kisumu’song on the flip. As Emmanuel describes the lyrics Akumu Nyar Kisumu is a coyly crafted love song, a suitor’s lamentations about sleepless nights and desires to propose nuptials to the lakeside beauty…

PolydorA) Them Mushrooms ‘A Little Love’
B) Them Mushrooms ‘Akumu Nyar Kisumu’

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 Band ‘Leta Ngoma/Jennie’ Pathé

Happy summer! We are have been working hard to update the site to be more mobile friendly and will keep adding more vintage stock throughout the year! Keep coming back in!
The intermingling of nifty guitar riffs on this blend of Congolese and Kenyan musical influences is deeply original and typical of a very unsung musical outfit that seemed to have become largely forgotten over the years. ‘Let’s sing, dance and party on to our music’ (ngoma yetu)’ the lyric goes. This deep track is indicative of the multi-layered repertoire of The Loi Toki Tok – the resident band at the uptown Arcadia Club (now the Florida Night Club) along Koinange Street in Nairobi. This track is featured on Kenya Special by Soundway records, compiled by Miles Cleret, Fredrik Lavik and Rickard Masip. It was recently repressed and can be bought here on all formats!

PathéA) Loi Toki Tok Band ‘Leta Ngoma’
B) Loi Toki Tok Band ‘Jennie’

Gravity, Matokenya, Jabali ‘Lost in Love/Mrs. Onyango/Folk Song’ Afro7

Gravity – Lost in love Towards the end of the 1970s, which had been a decade of abundance in Kenya’s homegrown music industry, CBS (Columbia) set up a well-equipped studio in Nairobi and started releasing records locally. Apart from reissues of European, American and South African hits of the day, they also recorded regional acts. Some of the most interesting output on CBS was produced by Nigerian-born Desmond Majekodunmi, better known as Des Majek, who had moved to Kenya with his wife Sheila who was a gifted singer (together with her husband she would released two singles for CBS Kenya). His early engineering credits in the UK included albums by Fleetwood Mac and Thin Lizzy, and before he started out with CBS in Nairobi he produced a few records for bands in Nigeria. In the early ‘80s Gravity, a group of college students, recorded three singles, two of which for CBS with Des Majek. Group members included Chris Kariuki, better known as Njoroge Benson and Anthony Ndungu, who would later provide lead vocals for the African Heritage Band. While the ballad ‘Goodbye Masai Girl’ catapulted Gravity into the local pop charts, it’s the modern soul / funk on the b-side that makes today’s boogie heads’ hearts skip a beat, and collectors pull out their wallet.

Matokenya – Mrs. Onyango Unknown to them, Kenyan disco group Makonde became an unlikely hype on the dance floors of uptown New York, not long after their first international record was released in France in 1977. ‘Manzara’, a raw disco anthem led by a looping clavinet, a distorted bass and the vocals of Greek-Tanzanian band leader Taso Stephanou, was hand-picked by Afrika Bambaataa and Jazzy Jay for its huge percussive breakdown 2/3 into the song, which made it the perfect record for b-boys to perform their moves to. And so a Kenyan song became a part of the early history of hip hop culture, a fact immortalised on a bootlegged cassette recording of Jazzy Jay deejaying in 1978. While Makonde enjoyed some celebrity in Kenya towards the end of the ‘70s, and group member Sammy Kasule kept using the Makonde name when he moved to Sweden, they were soon forgotten by most until the new millennium when diggers rediscovered the Manzara 12 inch (‘Soseme Makonde’) and the group’s second album ‘Matata Riots’ (EMI, 1978). Only recently, their first album reappeared on the radar – the original issue of their ‘Manzara’ hit. ’Dawn in Africa’ was formally a split title, with four Makonde songs on the a-side and the b-side credited to a group named Matokenya. However, at least some of the credits were shared between both groups, including the Demis Roussos-style vocals by Stephanou, and indeed Matokenya’s sound is very much in line with the early Makonde work. ‘Mrs Onyango’ (likely a tribute to Shaban Onyango’s wife), like ‘Manzara’, is a brilliant merger of distorted disco percussion, fuzzy bass, a trumpet that sounds much like the Makonde horns and a guitar riff that appears borrowed from a rumba song.

Jabali – Folk Song (Kanyoni) The previous Afro7 12-inch release featured Dai, a song by Francis Njoroge. Nowadays seen around Nairobi with his jazz funk outfit, Francis’ early studio credits include Makonde, Radi and Jabali. In the latter project he was joined by Joe Kuria, a versatile artist and music manager who in the ‘70s had coordinated Afro-rock band Awengele (featured on the Kenya Special Volume 2 compilation). The Jabali sound was a precursor of what we hear on ‘Dai’, joyful pop with a disco groove and smooth keyboard licks. The vocal melody and the lyrics were inspired by a famous Kikuyu traditional, Kanyoni Ka Nja (‘little bird’) here sung by Chinese kids. ‘Folk song’ is still remembered by many who grew up listening to Kenyan radio in the ‘80s. Jabali also recorded an LP which remained largely unnoticed and is by now near-impossible to find.

Afro7A1) Gravity ‘Lost In Love’
A2) Matokenya ‘Mrs. Onyango’
B) Jabali ‘Folk Song (Kanyoni)’

Mac & Party ‘Harambe/Liverpool’ Afro7

One of the most prolific Kenyan taarab musicians from the 1950s and ‘60s was Yaseen Mohamed. Born in Mombasa in 1922 to a Omani mother and Kenyan father, Yaseen got professionally involved in music while working for a Mombasa-based music store as a radio technician during the second world war. Assanand, which would later grow into a well known music store brand with branches in Nairobi and Dar es Salaam and whose name is still on a store front in Nairobi today, started recording local musicians for Columbia Records to meet demand of a growing market for East African music on 78 rpm shellac records. Around 1950 Yaseen joined the recording sessions at Assanand as a singer, cutting a couple of songs for Columbia Records. In the next fifteen to twenty years many more followed on a number of labels, including Jambo, which released songs he recorded as Yaseen & Radio Singers for Sauti ya Mvita, a local radio station. Towards the early ‘60s Assanand started its own label called Mzuri, which would continue to put out an impressive range and number (hundreds) of songs from Kenya and Tanzania up to the 1970s on 78 rpm records and 45 rpm singles.

One of the first releases on Mzuri was indeed by Yaseen; ‘Harambe/Africa Twist’ (Mzuri HL 2) carried the enigmatic name of Mac & Party (a group name that was not remembered by anyone we met in Mombasa) but an early Mzuri master catalog mentions Yaseen as the artist. Other Yaseen releases on Mzuri were under the name of Yaseen & Party. At least some of the songs were available both on fragile 78 rpm records as well as the handy and modern 7 inch format. While many of Yaseen’s releases under his own name (sometimes accompanied by his wife Saada, also known as Mimi) were Swahili songs in a number of styles loosely based around the increasingly eclectic Mombasa taarab, this and following Mac & Party singles were mostly sung in English, and musically the Mac & Party songs related to the international pop styles of the era. As Yaseen explained in the ‘60s to musicologist John Storm Roberts: “There is no certain thing which is tarabu. Even rock is tarabu if people just sit and listen”. Rather than explaining the genre by its borrowing from Arabic or Indian musical traditions, to Yaseen it was mostly the way the audience experienced the performance – sitting down – that made taarab unique, while “style depends on the people’s choice”. This would explain the experimentation and innovation during the era, and the introduction of new instruments such as tabla, a drum kit or the taishogoto, a Japanese harp.

In a way, Mac & Party’s light hearted songs can be seen as an early example of pop targeting foreign visitors to coastal Kenya, an approach that – twenty years later – introduced thousands of westerners to Kenyan music via pulp compositions such as ‘Jambo bwana’. However, the Mac & Party compositions were uniquely Kenyan, as can be heard in the instrumentation on on both ‘Harambe’ and ‘Liverpool’ which bridges to the taarab sound of the era, not least with its trademark electronic organ sound, and even in Yaseen’s vocals in ‘Harambe’ – right from the intro ‘Msenangu’ meaning ‘my friend’ in Giriama language. The lyrics to ‘Liverpool’ (the b-side to ‘Hi-Life Mambo’, Mzuri HL 59 and reissued by Philips) are a youthful fantasy of becoming rich and moving to England, released shortly after Kenya became independent. An edited version of the song, which was included on a Dakar Sound promo cd in the 1990s, ended up on the late BBC deejay John Peel’s playlist. ‘Harambe’ was most likely released in 1963; harambe was a concept promoted in post-independence Kenya under president Jomo Kenyatta, urging communities to stick together to build the nation, and the single’s b-side followed the international dance craze that was the twist.

A clue to Yaseen’s reasons for leaving the music industry can be found in the lyrics of one of his Mzuri singles, ’Nimepata mwana’ on which he sang about the birth of his first son. As new parents, Yaseen and Saada decided that their hobby of music should take a back seat so that they could provide for the family. In the early ‘70s, Yaseen moved to Oman where he worked as an engineer. In the next decade, his earlier releases got distributed outside Kenya through the compilation ‘Songs the Swahili sing’ (Original Music) which featured two of his songs. Yaseen Mohamed passed away in 1985; even though the majority of his songs came out over half a century ago, he’s still remembered as one of the most important names in Mombasa taarab. Some of his later songs are available on the Zanzibara 2 compilation (Buda Musique, 2005) and one of his sons has uploaded a number of tracks to Youtube.This and two other singles are now available again from afro7.net head over to the shop and grab your copy. Special thanks to Michael Kieffer for the transfer of Liverpool track.

Afro7A) Mac & Party ‘Harambe’
B) Mac & Party ‘Liverpool’

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’

Njoroge Benson ‘Nyinukia’ Odyssey

boat2 (3)A studied lawyer, Chris Kariuki took his hobby of music quite seriously, from the early ‘80s right up to his death in 2001. His earliest recordings while barely out of college were with the boogie-funk Gravity who recorded two singles for the CBS label. In the ‘90s he took up the artist name of Njoroge Benson (or ‘Joroge’) and recorded two singles, right at the very end of the vinyl era in Kenya. The dancehall-inflected ‘Gichichio’ and its b-side ‘Nyinyukia’ came out on an obscure label, Odyssey records. During Kariuki’s Gravity days, boogie funk may have been the sound of the day, but by the early ‘90s the Nairobi dancefloors were tuned to (American and European) house, hip hop, dancehall and everything in between. A series of locally released compilation LPs with foreign hits is a reminder of that. ‘Nyinukia’ is one of only a handful of Kenyan songs from the era that reflect that sound, including the keyboard stabs that are very similar to the piano used on Ultra Naté’s 1991 hit album ‘Blue notes in the basement’, and about a thousand other house songs from the early ‘90s. The drum pattern borrows a bit from the new jack swing groove. Njoroge Benson’s lyrics here are in English, but the title and chorus (‘Nyinyukia’ is Kikuyu meaning ‘take me home’) indeed take it home.

Afro7A) Njoroge Benson ‘Gichichio’
B) Njoroge Benson ‘Nyinyukia’

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

Black Savage ‘Do You Really Care/Save The Savage’ WAW

shieldAnd now for something completely different! The Black Savage group, famous for the rare mid-70s EMI LP. The band line-up featured one prominent member; Job Seda, better known as Ayub Ogada (later released an album on Peter Gabriels Real World label) In a Pink Floyd-esque landscape these two tracks are oddball and unique enough to go unnoticed. Completely without any noticeable local rootings, except the lyrics. There is an uncanny quality over them and both songs complete with anti-hunting lyrics “Save the Savage, don’t shoot ’em down, they are trying to survive, they have feelings too…You know people, I think it’s very strange. How would you feel if someone was wearing your skin, or wrapping it around their feet, have you ever stopped to think, that all these animals all over the world, you know they have feelings too, bet you never thought of that, there you go shooting them down hanging them up on your wall to hide the cracks!”. Thanks to Jumanne Thomas for finding the tunes!

WAWA) Black Savage ‘Do You Really Care’
B) Black Savage ‘Save The Savage’

Kiru Stars ‘Family Planning/Mumbi’ Editions By Law

stampsprofile“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!

Editions By LawA) Kiru Stars ‘Family Planning’
B) Kiru Stars ‘Mumbi’

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’

Shiraz with the Sunny ‘Karibu Karim’ Alka

agakhan2Hazar 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!

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

New Sunshine Band ‘What do I Feel?’ Sounds Express

jomoAnnouncement from the SOUNDS EXPRESS label! Straight from the hot press! Ladies and Gentlemen it’s the NEW SUNSHINE BAND! The second single from the band that has been creating FUZZ around your door, keeping the elders awake and the youngsters dancing their feet! Don’t miss out on the fun it’s the hottest sounds around! Evan and Sam at their catchy best! You don’t believe it? BELIEVE ME, BELIEVE IT!  For distribution and commercial inquiries visit Waceke Nganga Music Store River Road, Nairobi.

Ken-TanzaA) New Sunshine Band ‘What do you Feel?’
B) New Sunshine Band ‘Believe me, Believe it!’

Kenya Super Rumba ‘Mpende Mwenzio’ Ken-Tanza

cheetaWe’ve been digging through the Ken-Tanza label, check the new stock! One of favorite outputs is this monster modern RUMBA take, and a fine example of how a tune can sound totally different from part 1 to part 2. No info on the band on the net whatsoever. Credited to Solomon M. Kombo. I suspect it might be a offshoot group. Tune delivers tempo, and a superb-guitar drive, drum laden breakdown. “Hay-Hay” Cosmic!

Ken-TanzaA) Kenya Super Rumba ‘Mpende Mwenzio Pt. 1
B) Kenya Super Rumba ‘Mpende Mwenzio Pt. 2

Kahurika Brothers Muka Wa Mikora Eunice Harmonic

phoneFirst feature of 2014 is a doublesided Kikuyu Disco burner. Private production by Jimmy Wa Eunice distributed by Centre Music store Nairobi. Steady beat with little variation, it’s the stone hard groove and the basic but very infectious melody line that sets the mark. Guitarist steps it up a notch and starts his improvisation in the last part. Turn the single around and you have another track that is just as good as the first one. If anyone have any information about the producer or the band, or the record store for that matter please leave a comment.

Eunice Harmonic SoundsA) Kahurika Brothers ‘Muka Wa Mikora’
B) Kahurika Brothers ‘Kairitu Roiko’

Nairobi Matata Jazz ‘Tereza Sina Ubaya’ Diploma

airwaysA personal favorite from the mighty Nairobi Matata Jazz catalogue that truly showcase how tight they where back in the days. This Swahili number pretty much has it all for me, a bouncy bassline, superb breakdowns, fierce guitarlines plus a razor sharp rhythm section to match. Update! A user comment requested part one of the song so we’ve added that one as well. Please enjoy!
 

Diploma
Nairobi Matata Jazz ‘Tereza Sina Ubaya Pt.1’
Nairobi Matata Jazz ‘Tereza Sina Ubaya Pt.2’

Nyahururu Success ‘Wendo Wa Mithaiga’ Almasi

uhurubuyWe’ve been busy updating the shop side of things this summer, you can now actually order original Kenyan sevens directly from the blog. You’ll find the different categories under music shop on the right. There are only a 100 singles added so far, we will add more during the next months. The elusive Almasi label is always interesting as the styles in the music differs from each release.  Can’t find much information about the band but it’s pretty certain they originate from the town with the same name in the Rift Valley province. Note that in seventies Kikuyu Benga the foremost and predominant instrument used is the guitar, it’s nice to hear an organ in the arrangements for a change.

Bana MojaA) Nyahururu Success ‘Wendo wa Mithaiga’

Chania River Boys ‘Reke Tumanwo Biuu’ MPP

kikuyuIn the exciting evolution of Benga the Kikuyu artists implemented a fast paced rhythm, duo vocal harmony with several layers of guitar comp, melody and a minimalstic steady bumpin base/drum beat with little variation. This receipt seem to have worked as there are several Benga tunes perfected in the same style, often new incarnations of the same melody but with different vocals. Peter Kigia (Wa Ester) had a big hit with the B-side of his own privately financed MPP label. Rickard Masip made us aware that the artist is still ongoing with this youtube clip. Enjoy the original release from 1991! Who said the 90’ties was boring?

B)Chania River Boys ‘Reke Tumanwo Biuu’

Boma Liwanza ‘Jera-Inn pt 1&2’ Jera inn

birdie2buyOhh! Special nightclub pressing, or is Jera Inn a hotel? Probably a mid seventies pressing and it seems the only output on this label is this excellent Cavacha tune by the Great Boma Liwanza. Another Congo import group that recorded and released in Nairobi. The group also had a full LP release and 45 outputs on major labels as Africa, ASL, Pathe & Super Musiki du Zaire. Check out Muzikifan.com for more info on the band. The interplay between the guitar and the horn section is super, and the intricate drum rhythm that sets the pace of the tune. Both sides roughly edited together. Enjoy!

Jera InnA&B) Boma Liwanza ‘Jera Inn Pt. 1 & 2’

The Elgonets ‘Umoja Wa Africa’ Kasanga

water A sweet vocal number by the Elgonets, a group that had quite a few releases on different labels. Listen to the great driving guitar/drum shuffle beat that lays the mood for the crooner ending the track; “God bless Africa, Africa we love, with wild animals, with oceans and woods, god bless the continent Africa, Kilimanjaro and Mt. Kenya, use your bow and your machete and guard it. The togetherness of Africa is worth great goals. Look at it and what it offers, wild animals, lions, crocodiles ..”  Thanks to Irine Nzungula for the translation.

A) The Elgonets ‘Umoja Wa Africa’

Loi Toki Tok ‘Wakati Nilikuwa Na Baba’ Pathé

safaricarAnother goodie from Santa Loi-Toki-Toki Jasta, a lovely tune with mod feeling. Check the superb organ & guitar solos. They recorded several funky pop songs such as ‘Ware Wa’ or ‘Lakusema Mimi Sina‘ on Pathé, and one 45 on Angel, which is a bluesy, melancholic afro-ballad with deep wah-wah guitar licks. Very unique sounds. One of the most distinct bands from Kenya.

A) Loi Toki Tok ‘Wakati Nilikuwa Na Baba’WRC