Point

I've decided that the only way to counteract the absurd foreign intervention is to step up the posting. Apparently the "home of the free" has mutated into the "headquarters of the global police". I particularly like the metaphor used in one of the comments in a Dutch newspaper that the removal by the FBI (arrests in New Zealand! - do they have authority there???) of the Megaupload site is like bombing a highway because drug traffickers drive on this highway. If this is an attempt by the US authorities to demonstrate that 1984 has already come upon us, it is working.

The Netherlands is doing its very best to present itself as the puppy devoted to its american masters. The so-called antipiracy 'authority' has come out succesful in the legal action ordering two providers to block a torrent site (and don't be surprised if you can't follow the link...).

But enough of these depressing subjects.

In this post I would like to share two more singles by one of Benin's oldest orchestras: Orchestre Super Star de Ouidah.
Unfortunately, as in my earlier post, I am confronted by an enigma. What do they mean by "un point c'est tout"?
The lyrics are printed on the back of the sleeve and at first glance seem to clear up some of the mystery. The "PCD" is more than likely the Presidential Council of the early 1970s, which was the subject of a song by El Rego which I posted earlier. If you are interested I recommend you read the very detailed entry on Hubert Maga in the wikipedia.
I wasn't surprised to read that Maga, like (the for incomprehensible reasons widely revered) Senghor and 'dinosaur' Houphouet-Boigny, had gained respectability by getting himself (by ruse and deceit) elected into the French National Assembly.
The fact that there were "nordistes" (northerners) and "sudistes" can, it appears, be at least in part by attributed to Maga.

So what about this "point"?
Well, I think the answer can be found in this passage of the wikipedia: "A presidential council, consisting of Maga, Ahomadégbé-Tomêtin, and Apithy, was set up on May 7 with a presidency that changed every two years. Maga inaugurated this system for the first two years. Each man agreed to not use the military to extend their term or use any other means toward that consequence. If decisions were not unanimous during the first round of voting, a two councilman majority would suffice on the second round. The council served as the executive and legislative branch of Dahomey."
So "un point c'est tout" would mean that one vote could decide the majority. Is it me, or does this sound familiar?

What is the B-side of this single on the label is the A-side on the cover. This song was composed by Nigerian highlife star and innovator Roy Chicago (more about him here). I'm not sure what the relation is between Pascal Médagbé, the sax player portrayed on the sleeve, and Roy Chicago, but listening to his abuse of the sax it seems unlikely Médagbé played with the master.

Discafric DCF 13

Musically I prefer the next single, which is coincidentally also the next single on the Discafric label. This is largely due to the guitar playing of 'Timo' Apovée, nicknamed (at least on the sleeve) "Dieu de la guitare".

For those who don't understand french, the text on the back translates as: "Born in Ouidah on January 24, 1939 Timothée was taken by his father to Libreville in 1946. At the age of seven he was admitted to the catholic primary school Monfort led by brother F. Macaire and he worked there with a remarkable courage, but the death of his father who managed a business (Hatton and Cooks'son) sabotages his plans.
Taken back to his native country in 1955 by one of his uncles, very soon great problems come down on his existence. He liked staying alone in his little room to hum some songs to the sound of what later became his 'violon d'Ingres' (great love): the guitar.
He founded several orchestras: the Mexicana Jazz, Jazz King's Band and then the Super-Star de Ouidah. So he became Solo Guitarist/Composer and chef d'orchestre.
Let us hope and wish that Timo God of the Guitar reaches the top of the stars of the country and is able to one fine day compete with his Congolese colleagues."

I'm not sure what the relevance is of the mention of the headmaster and the name or even profession of his father, but I don't think the hopes and wishes expressed in the last sentence became reality.
This doesn't mean he is no good as a guitar player. I particularly like the sound of his guitar. It reminds me of the guitars of the earlier Guinean orchestras (Paillote, Jardin and such).
And anything that reminds me of those glorious orchestras must be good.

Discafric DCF 14

Challenges

I have - again - been hit by a sudden interruption of service on the part of the network provider. The problem appears to have been solved, so I hope to get back to posting tomorrow.

These challenges are slowly getting the better of me and are increasing my desire to be off and away. But I still have four weeks to go until I can do that....

Anyway, I will see what I can do to compensate for time lost.

As an appetizer here is a single by Orchestre Poly-Rythmo. I especially like the B-side: a version of "Que No Muera El Son", another multi-covered Cuban classic. I am not sure, but I think it was first performed by Cheo Marquetti. The song was also covered by Franco in the 1960s. I just love these mumbled gobbledygook-hispano tracks...

Polydisco PD.03

De-funked

Normally I wouldn't even bother to listen to an artist with a nickname like "Benin's Godfather Of Funk". Luckily, in the case of El Rego I was not aware of this label until after hearing his music. So I was able to enjoy it without all kinds of distracting associations and preconceptions.

Sorting through his extensive output I have come across some more noteworthy tracks, which I would like to share with you.

The first of these is "Mando Homin O", a dramatic ballad sung by El Rego himself, accompanied by a lingering accordeon (bonus points!!) and a ditto guitar. The B-side of the single, "E Nan Man Nuku", is in a similarly enjoyable non-funk style.

Albarika Store ASB 24

In the second single El Rego and his Commandos only act as a backing group to Togolese singer Germaine Jourias, who in a surprisingly dowdy voice sings the praise of her president, and late runner-up (after Gabon's Omar Bongo) in the list of African dinosaurs, Étienne (or Gnassingbé) Eyadéma. While I gather Eyadéma was not averse of a bit of flattery, I just don't get that feeling of sincere happiness and joy when hearing Germaine's eulogy. In fact, I would go as far as stating that she seems far more at ease in the song on the B-side.

Albarika Store ASB 33

The third single again sees El Rego in an accompanying role, in this case behind Charles Rodriguez. For more details about this singer I glady refer you to this post on the Analog Africa blog. In the interview he recalls working with El Rego: "Anyway I did some "chansons Francaises" and he (El Rego) backed me with his band Les Commandos." But in these songs El Rego is not with Les Commandos but with Les Astronotes. I am not sure what this means, but I assume Benin experts like Oro will be able to clear this up.

"Felicité", on the A-side of this single, is clearly meant as a cover of "Para Fifi", one of the classic hits from the 1950s by le Grand Kallé and his African Jazz. Halfway the song wanders off into another song, again probably modelled on a Congolese merveille du passé.
The B-side is called "Conseil Présidentiel", but is not in french. This song appears to be about the presential council consisting of three men, which took power in Dahomey in 1970, until they were forcefully removed by Mathieu Kérékou in 1972.
Whatever the lyrical content, the music is (again) notably devoid of any traces of funk...

Aux Ecoutes AE 010

J'aime Jesus

A quick post for those in need of a bit of easter worshipping.

"This first recording of USS-Sound is brought to you for your Pleasure and your Salutation in Jesus-Christ our Lord and Saviour.
Whoever shall have this record shall pass moments of Happiness listening to it", comments a very stern looking reverend Zinsou on the back of the sleeve.

He at least had the good Sense to let himself be accompanied by Les Black Santiago.

USS Sound USS001

Feeling I get

Continuing the series of singles I would like to share two records from Benin, - or rather from Dahomey (that is, from before 1975). Both are by the Super Star de Ouidah.

From the wonderful Orogod blog I have learned that this orchestra was one of the first (presumably modern) orchestras of Dahomey, but apart from this my knowledge of and about this orchestra is minimal.

I must admit I was attracted to these record by their titles. I mean "Le Peuple A Raison" ("The People Are Right") is bound to get one's imagination going, isn't it? Unfortunately, even after listening to the song, I am still left in the dark as to what the people are right about.
But luckily the music is good, although I prefer the B-side "Djomido Mahi", with its strange voices in the background (it's like someone has left the radio on in a room next to the studio...).

The second single is actually an EP. And if you thought the first record was weird, wait till you hear this one.
It was only after hearing the record four times that I could resist the temptation to go and check the speed of the record player. The voice of the singer has a natural '45rpm-played-at-33' timbre.

Again the titles set the mind off in all directions. And with the track "Feeling You Got" I am still left wondering what feeling this was supposed to be. The lyrics, supposedly in English, shed no light on the matter....

The same goes for the highlife track with the title "750 x 7". What does it mean?

The B-side of this EP begins with yet another wondrous tune, called "Los Cuoros" and no doubt intended as a happy latin dance melody of the 'fiesta' kind. And again I am left puzzled, for despite the (no doubt) good intentions I can't help but feeling like I am attending a funeral....

Of the last song "Dors Si Tu Peux" ("Sleep if you can") they have even printed the lyrics on the back. But I am still not quite sure what the meaning of this bluesy ballad is. Has someone died ("You will never again see the sun of happiness")?

Fascinating band, this Super Star de Ouidah.....

Discafric APV 45026
Discafric DCF 11

Achille Johnny

I know absolutely nothing about this artist, but his name evokes visions of Belgian sporting legends, or comic book heroes.

Achille Johnny.....
....The first Belgian to cycle around the world. Or the threefold winner (in consecutive years!) of Liège-Bastogne-Liège. Or the hero of "Achille Johnny et la collusion diabolique".

Reality tends to be more prosaic, - but maybe (or hopefully) not in this case. A quick search reveals that our Johnny has gathered some fame for his song "Mede Woui" (which can be found here), a wonderful slow ballad of the haunting dramatic kind.

One of these two singles contains a similar (but maybe not as haunting) slow ballad, titled "Kou We Mi Djo Na". The B-side "Johnny A Une Femme" features a song with references to - presumably - winning the national lottery, which suggests that Johnny's good looks weren't enough to get him hooked up...

The second single is less spectacular, but nevertheless pleasant. I like the guitar, but the drummer should have been recorded in another room.

Disques ISB SBL209002
Disque Sachey DN No.1

PS: does anyone (Oro?) have a photo of Johnny?

EDIT: and here is (a small version of) the sleeve, supplied by the ever helpful Zim.
I have to admit I am slightly disappointed....

Boom boom boom

Two more singles in this post, and again from Benin. Although I don't know all that much about the music of Benin, I don't think the artists performing on these two records are typically Beninois.

In the case of the first, King N'Gom (whose first name is Meissa), this is not so strange. He is in fact from Senegal, and at one point worked with Dexter Johnson. The experience appears to have given him confidence. Shamelessly he uses quotes from Cuban son music, clearly without any idea of the meaning of these lyrics - or the Spanish language.... I love it. I have no objections to gibberish in any language, and certainly not when done with such fervour and passion. And King N'Gom has a great voice for it.

Editions Becoci EB002

At the start of the second record (which is rather scratchy I regret to say) you may fooled into thinking the track is going to be one of those broody ballads. But then the track takes another direction altogether, in a rhythm that reminds me a bit of that wonderful kaseko music from Surinam (if you don't know this music, it may be worthwhile looking out for it). The singer, Pablo Medetadji, obviously is an experienced singer. I like the casualness of his phrasing. And in the version of that ultimate worldmusic song "El Manicero" (which I suspect was covered more times in Africa than in the whole of Latin America*) he too demonstrates his fluency in hispano-gibberish. More please!

Medetassembo PM001

*hmm - this may be another good idea for a post....

El Rego

I am very very slowly sorting through some 45s from Benin, and these two have certainly caught my attention. So I thought I would share them with you, in the series of posts of 45s.

Both are by El Rego. The first with "son ensemble typique", and the second with his "Commandos" and singer Cornaire Salifou Michel, who according to the cover is nicknamed "Miguelito Cuini", - but I expect they meant to write Cuni, like the great Cuban sonero of Chappotin's Estrellas*.

You can read more about Theophile Do Rego, better known as 'El Rego', in this post on the Radiodiffusion blog.

As you can hear, both records have suffered as a result of time, dust and wear, but I think the essence is still audible. The 'El Rego et son ensemble typique' single features an extraordinary collection of curiosities, from a somewhat pretentious blues track with a solid dose of late-night ambiance (I get drunk just listening to this...) on the A-side to a version of "Donnez-Moi Ton Sourire" (which you may remember from this memorable Ivorian collection) plus an initially almost unrecognisable version of the hit of Cuban tourist bars "Buru Barara" on the B-side.

Disques ISB RGO 201.002

The second single is from a later date (but what?). This is one for the organ lovers, and more particularly of the close-to-the-edge organs (like me). On both sides the rhythms appear to be of Beninois origin, and the orchestration is rich, with some nice horns (especially on the B-side).
For experts of the music from Benin, like Oro (loads of great music from Benin can be found on his very active blog), a line-up of the Commandos is printed on the back of the sleeve.
I am hoping to dedicate another post to guitarist/singer Cornaire Salifou Michel in the future, when I have sorted through these 45s.

Etape Du Voyageur EPEV 002

*I am still hoping to -one day- find a Chappotin recording which hasn't been posted on the fantastic Listen with my (or to your) ears blog.

Roots

I tend to get very annoyed with all the releases stressing western aspects of African music. "Nigeria Disco Funk", "Afro-Rock", various West African Funk compilations and such. I can understand the need for these from an African point of view. But the strange thing is: most of these compilations are put together by western producers, and for a western public.

How does this work?
It's like those people that travel to the other side of the world for an exotic holiday, but take their own local brand of coffee.
Why bother?

So in this post I am sharing with you an African compilation of music from Benin. I find no mention of "funk" or "rock" on the sleeve. And if you ask me, I can only hear music with obvious African roots. With rhythms borrowed from the traditional (vodun and other) music.

Discafric AF 003


PS: apparently the last two tracks on the B-side have been switched around on the sleeve. The last track is clearly Gnonnas Pedro.

Vote for me!

In the run-up to the US elections I keep having think about this EP from the early 1960s, in which G.G. Vikey urges us to elect him as president. He promises us change, plenty of jobs, good economic conditions, paradise on earth...

From the few records I have of this relatively unknown artist from Benin, he comes to me as the archetypal 'évolué'. Maybe he is just trying to please producer Gilles Sala (I would like to link to some info about this influential producer, but can only find info about his work as a singer).

The other tracks on the EP are worthwhile too, especially the track about Faceli Kanté, one of the founders of Les Ballets Africains, and influential as an artist who introduced the spanish guitar into African music.

EDIT December 30, 2015: The sleeve has been retrieved (see below), so I have added this to the file and have upgraded the audio to a higher bitrate.

Rivièrafrique 231.335 (new link December 30, 2015)

The original Gnonnas

I have referred to the subject before, but it's a pity that some of the great artists of Africa only generate 'global' interest -and sometimes even recognition- after they have performed with a western ensemble or have had a record produced by a western producer. One of these great artists (and maybe he is even a Great Artist) is Gnonnas Pedro, of Africando fame - until he died in 2004.

You can read more about him in this interesting post on the "With Comb and Razor" blog. And while you're at it, don't forget to download the last track (or all of the tracks) of the album posted there.

Here is an lp from (I suspect) 1980. The A-side of the album features tracks which have at some point been released on CD (the two Ledoux compilations).
Side B features just one track, "Kalapchap".

As a bonus I add this wonderful single, with an earlier version of "Dark As A Dungeon" (than the one you just downloaded from Comb & Razor), by Gnonnas and his Panchos de Cotonou.