De Frank Kakra (Togo/1979)

De Frank Kakra was born in Togo but he recorded a lot in Ghana. With his De Frank Professionals band he had been early produced in Ivory Coast by the SID (Ivory Coast records society) in 1978, with his "Jamaican sound". Here is a nice highlife title recorded in 1979. Thank's Digging For Gold.

De frank Kakra est né au Togo mais il a beaucoup enregistré au Ghana. Avec sa formation, les De Frank Professionals, il s'est d'abord fait produire en 1978 par la Société Ivoirienne du Disque avec son "Jamaican Sound". J'aime beaucoup le titre highlife suivant, enregistré en 1979. Merci Digging For Gold.

K. FRIMPONG & His Cubano Fiestas (Ghana/1980)

Another great album shared by Ogoun Ferraille again. Thank you a thousand times to him.

K.Frimpong recorded this album backed by the Cubanos Fiesta was edited in 1980 on Polydor's label. This album is composed of beautiful highlife and afrobeat tunes. As you may notice, the title "Nye Mea" is a remake of "Kyenkyen Bi Adi Mawu". Very interesting piece. To finish, Alhaji K. Frimpong passed away in 2005. Long life to his music and soul...

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Autre album sublime partagé encore par Ogoun Ferraille. Merci mille fois à lui.

K.Frimpong enregistre cet album avec l'orchestre The Cubanos Fiesta en 1980 sur le label Polydor. L'album est riche de rythmes highlife et afrobeat. Vous pourrez noter que le morceau "Nye Mea" est un remake de "Kyenkyen Bi Adi Mawu". Album très intéressant  Pour finir avec Alhaji K.Frimpong, sachez qu'il est décédé en 2005. Que âme et sa musique reposent en paix.

Gnonnas Pedro (1979)

It's always a pleasure listening to great salsero Gnonnas Pedro. This record is quite rare, I late you appreciate.

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C'est toujours un plaisir d'écouter le grand salsero Gnonnas Pedro. Ce disque est plutôt rare, je vous laisse l’apprécier.

BLACK SANTIAGOS Led by Ignace de Souza (Ghana/1965)

Pretty old record of the Black Santiagos led by beninese trumpet player Ignace de Souza and recorded in Ghana in 1965. "Pretty Little Angel"is a twist rhythm and "Augustina" is a highlife. 

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Sacré vieux vinyl des Black Santiagos, avec pour chef d'orchestre le trompettiste béninois Ignace de Souza, et enregistré au Ghana en 1965.

Negro Jazz de Cotonou (1965)

Let's discover a new beninese band on Oro, the Negro Jazz de Cotonou, typical orchestra of the independence period influenced by Afro-Cuban and highlife rhythms. The leader of the band is  Mathias Malaya. For me, this orchestra does not represent the golden age of beninese music but it remains an interesting discover.

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Découvrons un nouvel orchestre Béninois sur Oro, les Negro Jazz de Cotonou. Orchestre typique de l'époque de l'indépendance aux influences afro-cubaines et highlife. Le leader du groupe est Mathias Malaya. Pour moi ce groupe ne représente pas l'age d'or de la musique béninoise mais il reste une découverte intéressante.

Orchestre BLACK SANTIAGO & Danialou Sagbohan (1973)

Voici un disque dont vous avez pu écouter la face B sur le blog que je consacre à  Danialou Sagbohan.
Les paroles et les musiques ont été composées par Grégoire Gaba, un artiste totalement inconnu pour moi. Sagbohan est à la batterie et comme toujours redoutable. Les deux titres sont des rythmes highlife et celui qui a retenu mon attention est "Dovi" dont la mélodie ne quittera plus votre tête.

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Here is a record which side 2 has been posted on the blog dedicated to Danialou Sagbohan.

Lyrics and music were composed by Grégoire Gaba, a totally unknown artist to me. Sagbohan is on drums and dreaded as always. Both titles are highlife rythms and the one that caught my attention is "Dovi" which melody won't leave over your head.

EBO TAYLOR, PAT THOMAS & SUPER SOUNDS (Ghana/1981)

Here is a great record to start 2013. In this album, recorded in Togo in 1981 under Super Sounds' name, is featuring the two biggest stars of Ghana: Pat Thomas and Ebo Taylor. This record is rare but known for its wonderful aofrobeat piece: "Yes Indeed".

Ebo Taylor is a figure in Ghana Highlife music. His career reflects his artistic vitality. During the 50s and 60s, after the explosion of pioneers highlife bands like E.T. Mensa, Taylor became a figure of this movement, beginning with bands like Stargazers and Broadway Dance Band. Highlife music appeared to Ghana in the 20s, it was born from the meeting of portugese guitars, western brass bands, african rhythms, american big bands and carribean styles like calypso. Thus in the mid-70s and 80s, Ebo Taylor recorded a number of solo projects, exploring unique fusions and borrowing elements from traditional Ghanian sounds, Fela's afrobeat, to jazz, soul and funk.

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Voici un excellent disque pour commençer l'année 2013. Dans cet album enregistré au Togo en 1981 sous le nom de "Super Sounds", figurent les deux plus grandes stars du Ghana: Pat Thomas et Ebo Taylor. Cet album est rare mais connu pour son redoutable morceau afrobeat: "Yes Indeed".

Ebo Taylor est une des figures de la musique Highlife au Ghana. Son parcours témoigne de sa vitalité artistique. Pendant les années 50 et 60, après l’explosion des orchestres de highlife pionniers comme E.T. Mensah, Taylor est devenu une figure de ce courant en se faisant les dents avec des grands groupes comme les Stargazers et le Broadway Dance Band. Courant apparu au Ghana dans les années 20, le highlife est né de la rencontre des guitares portugaises, des fanfares occidentales, des rythmes africains, des big bands américains et des styles caraïbes comme le calypso. Ainsi, au milieu des années 70 et 80, Ebo Taylor enregistre un certain nombre de projets solo, explorant des fusions uniques et empruntant des éléments de sons ghanéens traditionnels, de l’afrobeat de Fela, de jazz, de soul et de funk.

Chief Stephen Osita Osadebe (1970)

Je suis un fan absolu de Stephen Osita Osadebe. J'ai lu quelque part qu'il aurait enregistré plus 500 morceaux. Je pense qu'on ne connait pas encore toute sa musique.
En attendant voici un 33 tours de 1970.

Le commandant en chef Stepen Osita Osadebe et ses NIgerian Sound Makers sont des vétérans de la scène musicale Nigeriane. Leur musique a souvent fait sensation. Le succès d'Osadebe en tant que compositeur et musicien est due à son originalité mais aussi à son grand sens de l'humour. Avant de former les Nigerian Sound Makers, Osadebe a joué pendant longtemps en tant que compositeur et chanteur avec le légendaire Zeal Onyia.   Alex Peters

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I am an absolute fan of Stephen Osita Osadebe. I read somewhere that he recorded over 500 songs. I think we still do not know all his music yet. Until that here is an LP recorded in 1970.

The Commander-in-chief, Stephen Osita Osadebe and His Nigerian Sound Makers are veterans of the Nigerian musical scene. Their music has several times been the sensation of the musical panorama. Osadebe's success as a composer and musician has been due not only to his purely musical fantasy, but also to his down-to-earth sense of humour. Osadebe played music with the legendary Zeal Onyia for many years as a composer/vocalist before he formed the Nigerian Sound Makers.   Alex Peters

Orchestre PICOBY BAND d'Abomey

Orchestra Picoby Band has been already introduced on Oro here, but it deserves a more complete post. The band is from Abomey and was found in 1953. It is one of the oldest band from Benin with Renova Band, also from Abomey or Super Star de Ouidah. Those three bands only recorded EP's. Picoby Band  recorded at least seven 7-inches singles. Here are four of them. Most of the tracks were afro-beat tunes recorded on Lawani Affisoulayi's label Aux Ecoutes and composed by they great Honore Avolonto. It was around 1970.

On the first record, "Dieu Merci" ("Thank's God") is a very nice soukous tune and "Honton Ve Zoun" a powerful jerk, both composed by Honore Avolonto.

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Side 1: "Hounton Ye Zoun" (Honore Avolonto)
Side 2: "Dieu Merci" (Honore Avolonto)

Second record is also composed by Honore Avolonto. "Mi Hon Noun Gbeto" is an excellent pachanga with very good congas sound recording. "Ye Houe Deou" is another jerk tune.

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Side 1: "Mi Hon Noun Gbeto" (Honore Avolonto)
Side 2: "Ye Houe Deou" (Honore Avolonto)

On the third record Honore Avolonto composed "Vikou..." which is called soukous but it does not sound like. "Jo Ahi Nou Se" is a great Afro-Beat tune composed by Sanoussi Mouminou but sang by Avolonto.

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Side 1: "Vikou..." (Honore Avolonto)

Side 2: "Jo Ahi Nou Se" (Sanoussi Mouminou)

This record has been recorded on Albarika Store's label and composed by Sanoussi Mouminou. The single "Mi Ma Kpe Dji" is a great afro-beat tune sang by Avolonto. "Lidia" is a nice and cool Highlife tune sang by an anonymous singer. I think that this record was released after 1970.

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Side 1: "Mo Ma Kpe Dji" (Sanoussi Mouminou)

Side 2: "Lidia" (Sanoussi Mouminou)

This record edited on label "Echos Sonores du Bénin" has been composed by Pierre Avohou. The two tracks are beautiful Sato rhythms.

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Ce disque édité sur le label "Echos Sonores du Bénin" a été composé par Pierre Avohou. Les deux morceaux sont des superbes rythmes Sato.

This record is a contribution of Ogoun Ferraille with two wonderful Jerk rhythms: "Me Adominia" and "Houi Hou Mi To". I do not have the reference of this record but Ogoun should reveals it very quickly.

Ogoun Ferraille's record

Ce disque est une contribution d'Ogoun Ferraille avec deux sublimes Jerk: "Me Adomina" et "Houi Hou Mi To". Je ne connais pas la référence du disque mais Ogoun devrait nous dévoile ça très vite.

Chief Stephen Osita Osadebe (1972)

Depuis très longtemps je voulais partager les remèdes du plus grand docteur musical, Chief Stephen Osita Osadebe. On dit qu'il a composé plus de 500 titres, je pense donc que vous n'avez pas fini d'entendre parler du Doc sur Oro. Des extraits de l'album ont été postés sur le génial blog Likembe il y a 3 ans. Je propose l'album en entier dont voici les titres sous forme de medley:

[A] Egbunam / Ezi Oyi / Matador Special  / Ozo Emezina

[B] Ezi Ogelidi  / Obi Enwe Igodi  / Okalianjo

For a very long time I wanted to share the remedies of the greatest doctor of music,Chief Stephen Osita Osadebe. They say he has composed over 500 songs, so I think you will herad more about Osadebe on Oro. Excerpts from the album wereposted on the awesome blog Likembe blog 3 years ago. Today, I propose the whole album. For those who don't know the doctor yet, here is a biography take from the Biochem Nagoya blog.

"Chief Stephen Osita Osadebe is one of the few bandleaders from the 1960s' "Golden Age" of Nigerian danceband highlife still active on the music scene. He was born in March 1936 in Atani, near the Igbo trading city of Onitsha. According to the liner notes by Chuzzy Udenwa of the compilation CD, "Sound Time," Osadebe's musical apprenticeship began with E.C. Arinze's Empire Rhythm Orchestra in the 1950's, and he soon made a mark with his first record, "Adamma," in 1958. Another source (Yahoo! Music Australia & NZ) claims that Osadebe got his start with Stephen Ameche's band in 1958 and that his first recording was "Lagos Life Na So So Enjoyment" with trumpeter Zeal Onyiya's band in 1959.

Regardless of the exact date of his musical debut, Osadebe's career dates to the 1950's there are many 45s, EP's, etc. releeased prior to 1972 which are not listed here. One or two LPs issued after 1972 may also not be listed. Nonetheless, this is the most complete discography of Chief Stephen Osita Osadebe currently available. Occasionally LPs do not have a formal "title". In such cases they are identified by the lead track on side 1. "Philips" & "Polydor" refer to the Nigerian affiliates of those labels. -- John Beadle.

Addition: Stephen Osita Osadebe passed away in US at the age of 73 on the 11th of May, 2007. According to Benson Idonije's obituary article in the Guardian Newspaper, 

"Osadebe succeeded in breaking away from the conventional big band format established by the pioneers of the music, a format that favoured melodic progressions that were in the common meter, church hymnal tradition. He succeeded in completely transforming highlife into the call-and-response pattern of African music.

Osadebe was only a singer who also played claves, but his role manifested itself in all the areas of highlife, composing, arranging and providing band leadership. He began his career from Empire Hotel, Idioro, Lagos, a club owned by Chief Kanu; which provided employment and residency for almost all the early highlife musicians. Osadebe was a sideman with Stephen Amechi and his Rhythm Skies."

He describes the points of his music as

"Two personalities were greatly respected and sought-after during those highlife days - the vocalist and the guitar player. The guitarist provided palm wine chords which held the orchestra together and also indulged in interminably long guitar solos that kept dancers on the floor for long periods of time. The vocalist projected the entire band and remained the main focus. Osadebe was one of the leading singers on the scene - along with Joe Mensah, Tunde Osofisan, Godwin Omabuwa. But the edge Osadebe had over all of them was that he was a prolific composer; and for this reason, he was in great demand."

His carrier shifted from the Empre Hotel to Central Hotel. "He moved from Empire Hotel under the leadership of Stephen Amechi to Central Hotel, Yaba. Even though he was not the leader of the band there was a special arrangement between him and Chief Osuala, the proprietor of the club to concede this position to trumpet player. Eric Onugha, a much older musician who could read music. Osadebe did all the singing and composing."

Idonije continues: "The situation which however elevated Osadebe musically in terms of giving him the confidence that he needed as a musician was his collaboration with trumpet player Zeal Onyiia of Vic Yem Ofum fame.

Zeal was one of the pioneers of highlife who had fruitful stints with Bobby Benson and even E.T. Mensal and his Tempos Band. He also co-led the Rhythm Aces with Spike Ayanko upon leaving the Tempos Band. Besides, Zeal was the strongest trumpeter in West Africa. Playing with zeal was an eye opener and a landmark in Osadebe's musical career. He learnt all about the essence of melodic progressions, poise, dynamics and big band arrangement technique - qualities, which manifested themselves in the band's hit single oyin lotan, which was composed and vocally projected by Osadebe himself."

He broke away from being a sideman and went his separate way around 1964 with the release of One pound, no balance, which was a big hit. Quite significant in his career, this song dictated for him the way in which his music should go."

Ebo Taylor & Kwabena Afadzie: Gapohones Various Bands

This is a very nice album recorded in 1977 on Gapohone label. Ebo Taylor was musical director on this label and produced many artists like Kwabena Afadzie who composed the fabulous and deep "Wongyae Me Mu". I would love to know more about these "Gapophone various bands", if someone knows...

Voici un excellent album enregistré en 1977 sur le label Gapophone. Ebo Taylor était directeur musical du label et a produit de nombreux artistes tel que Kwabena Afadzie qui a composé le profond  et lour morceau "Wongyae Me Mu". J'aimerai beaucoup en savoir plus sur ces "Variés Orchestres Gapophone", si quelqu'un sait

Dossou Isaac & Ebenezer Obey & his International Brothers (1971)

Once again, i have no informations about Isaac Dossou, aka Doslak, author and singer from Benin who made himself known with Poly-Rythmo. But we all know Chief Ebenezer Obey and His International Brothers band, formed in 1964.

This EP from Decca label, recorded in 1971, reveals the close ties between Benin and Nigeria for ages. The language of Benin and Nigerian music are obviously feeting together. The two highlife tunes treat of the politic aspirations from this period: "Liberation" and "Fraternité".

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Une fois de plus, je n'ai pas d'informations sur Isaac Dossou, auteur et chanteur Béninois qui a notamment enregistré avec l'orchestre Poly-Rythmo. Par contre, nous connaissons tous Chief Ebenezer Obey et ses International Brothers, orchestre formé en 1964.

Ce 45 Tours du label Decca, enregistré en 1971, révèle les liens étroits qui unissent le Bénin et le Nigeria depuis une éternité. La langue du Bénin et la musique Nigeriane ne font qu'un, une évidence. Les deux titres highlife trêtents des aspirations politique de cette époque: "Liberation" et "Fraternité".

Obiajulum Super Sound (Nigeria)

Dolf Motz from Makossa Original blog speculated the this album would be from Stephen Osadebe's son: Obiajulum Osadebe. Music truely sounds like Osadebe's but I am not sure because Obiajulum was born in 1966 and this record has probably been released in the late 70s. A little young, so, for this second volume. Also, the discography of Obiajulum Osadebe began in 1990. The enigma persists so if you have some informations, please let us know.

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Dolf Motz du blog Makossa Original a émis l'hypothèse que l'album serait celui du fils de Stephen Osadebe: Obiajulum Osadebe. Effectivement la musique fait veritablement penser à celle du "docteur" Osadebe. Mais, je ne suis pas sûr car Obiajulum est né en 1966 et cet album a vraisemblablement être enregistré vers la fin des années 70s, un peu jeune, donc, pour ce deuxième volume. Par ailleurs la discographie d'Obiajulum Osadebe commençerait en 1990. L'enigme persisite... Si vous avez des informations, faite le savoir.

Safohene Djeni (Ghana)

The background to Safehini Djeni's music career is dated as far back as the sixties when he joined T.D. Quarcoo's Guitar Band, where he learnt to play the guitar. As variety is the spice of life, he later joined guitar bands like Akompi, Okukuseku N°1, Ahamano's and later Nyame Bekyere Band led by ace actor Seaboy J.N. Ebroni and feature prominently as lead guitarist and vocalist and also composer of their hit tune "Nyame Bekyere".

Safohene Djeni fit les gloires des grands orchestres tels que Akompi, Okukuseku N°1, Ahamano et Nyame Bekeyeke Band dans le quel évolue la grande star J.N. Ebroni. Il fit sa place comme guitariste mais aussi comme chanteur et compositeur, notamment du fameux titre "Nyame Bkyere".

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Bluecky d'Almeida & Poly-Rythmo

Bluecky d'Almeida is one of the odlest singer of Benin with El Rego. This recording in mono from 1973 is really interesting: "Bye Bye Vicky" is a cool Jerk rhythm, a famous rhythm and dance in France during the 60's. "Eye Miadua" is a great Highlife tune which begins with a deep Vodoun rhythm. This vinyle is quite rare, so enjoy it...

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Bluecky d'Almeida fait parti des plus anciens chanteurs du Bénin avec El Rego. Cet enregistrement en mono, qui date de 1973, est particulièrement intéressant: "Bye Bye Vicky" est un excellent Jerk, rythme célèbre durant les années 60 en France, et "Eye Miadua" est titre aérien de Highlife qui débute par lourd rythme Vodoun. Ce vinyle est plutôt rare, alors bonne route...

Pozo Hayes feat. Ignace de Souza & Danialou Sagbohan (Ghana/1985)

This first album from Pozo Hayes was edited by Satel and recorded in Benin in 1985. Ignace de Souza is on trumpet and Danialou Sagbohan on drums. Here is the story of Pozo Hayes:

As a little boy growing up in Kaneshie, Nana Boake Ofori Atta, a.k.a Pozo Hayes, could not go out to play like other children. Virtually grounded by polio at the age of three, he founded companionship in radio set. His father, Aaron Kofi Asante Ofori Atta, the last Speaker of parliament in Nkrumah regime bought him a wheelchair when he was about to start school. The right armrest of that chair became the drum with which he supported his singing of trendy pop tunes at school.

At the beginning of his career, the promoter of Satel Editions invited him in Cotonou, Benin. Pozo Hayes elected to do the trip with Classic Handels and the gig was great. He recorded his firts album "Looking Over There" and since then, he has not looked back and can boast of eight albums to his name.

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Sicko Appiah & Orchestre Black Santiago (1972)

I especially like the diversity and quality of Prodcution Satel and its tropical records. Here the number 60 with the great Black Santiago and unknown singer Sicko Appiah. On those highlife tunes Sickoh sings in Akan language from Ghana. I guess so he is Ghanaian. If any knows him, manifest yourself. This EP was probably released in 1971. By the way, Sagbohan is playing battery.

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J'aime particulièrement la diversité et la qualité des Productions Satel et ses disques tropicaux. Voici le numéro 60 avec le grand Black Santiago et un chanteur inconnu, Sicko Appiah. Sur ces morceaux de highlife, il chante en langue Akan du Ghana. Je suppose don qu'il est Ghanéen. Si quelqu'un le connait, qu'il se manifeste. Ce 45 tours est vraisemblablement sorti en 1972. Au fait, Sagbohan est à la batterie.

Ignace de Souza & The Melody Aces (Ghana, 1962)

Those words are perfect to speak about Ignace de Souza who is best known for his Ghanaian Highlife, even though he was originally from Benin and played eclectic musical styles. In addition to Highlife, his diverse musical repertoire included the Cha Cha, Twist and Afrobeat. Ignace de Souza's major legacy is that he introduced Ghana to that which would be known as Soukous. De Souza's began in Ghana during the 1950's with The Shambros Band, then with The Melody Aces and The Black Santiago. The famous singer from the Broadway Dance Band, Joss Aikins, who played at the Independence Ball, is singing on this 1962's recording.

Ignace de Souza est plus connu comme chanteur de Highlife au Ghana que chanteur éclectique du Bénin. Mais il était aussi connu pour jouer du Cha Cha, du Twist; pour avoir créer l'Afrobeat avec Fela, pour avoir importer le Soukouss au Ghana, et enfin pour être un des meilleurs trompetiste d'Afrique de l'Ouest, rien que ça... De Souza se fit connaitre au Ghana, durant les années 50, avec le groupe Shambros Band, puis durant les années 60s avec les Melody Aces et enfin avec le fameux Black Santiago. Le célèbre chanteur de l'orchestre Broadway Dance Band, Joss Aikins, qui anima la fête de l'indépendance, chante sur cet enregistrement de 1962.

Pat Thomas (Ghana/1979)

Pat Thomas was Born in 1951 in Kumasi, Ghana. The wave of disco and reggae that swept Africa in the mid-70s created differing responses: some musicians pulled away from playing imported music entirely, others adopted it and adapted it to their own purposes. One of the latter category is highlife vocalist Thomas, who made his name with his band the Sweet Beans. He was brought up by his uncle, Onyina, a celebrated local band leader and the owner of a record store in Kumasi.

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In 1969 he joined the Broadway Dance Band, leaving a year later to join the Uhuru Dance Band for a tour of the UK. Returning to Ghana, he played with Ebo Taylor’s Blue Monks, spent a year in the Cote D’lvoire and then formed the Sweet Beans in 1973. Like many Ghanaian bands, the Sweet Beans received sponsorship from a government body, in this case the Cocoa Marketing Board. They released False Lover in 1974, then split and re-formed as Marijata, releasing Marijata and Pat Thomas Introduces Marijata, after which Thomas released two reggae-influenced solo albums, Let’s Think It Over and Asawado.