Orchestre Super Borgou

Orchestra Super Borgou from Parakou was the most famous band in northern Benin during the 70s. Parakou is the largest city in eastern Benin and capital of the Borgou Department. Super Borgou recorded at least four EP's on Albarika Store label. This number 219 has apparently been recorded in 1973-74 since title "Dahomey Libéré" si already praising the Dahomey revolution of 1972. Ce record presents two very nice soukous influense titles. The interview with the Super Borgou's lead guitar Moussa Mama, who composed "Dahomey Libéré", made by Samy Ben Redjab tells perfectly the history of the band (Itw taken from the album Analog Africa N°3: "African Scream Contest):

L'orchestre Super Borgou de Parakou était le plus fameux groupe du nord du Bénindurant les années 70s. Parakou est la plus grande ville de l'Est du Bénin et la capitale du département du Borgou. Super Borgou a enregistré au moins quatre 45 tours sur le label Albarika. Ce numéro 219 été apparemment enregistré en 1973-74 puisque le titre "Dahomey Libéré" fait déjà l'éloge de la révolution Dahoméenne de 1972. Le disque présente deux jolis titres d'influense soukous. L'interview du guitariste du Super Borgou, Mama Moussa, qui a composé "Dahomey Libéré",  réalisée par Samy Ben Redjab illustre parfaitement l'histoire du groupe (Itw tirée de l'album Analog Africa N°3: "African Scream Contest):

I was born in 1947; I don’t know the exact date but it was on a Friday, which is why people know me as Moussa “Djima” (Djima is Arabic for Friday). I grew up just watching all those musical things happening around me and I could literally feel music entering my soul. In my early teens, electric guitars started to appear in Parakou, especially during festivities: weddings, circumcision rituals, etc. The first guitarist to perform at our house was Waidy, my brother discovered him in Togo. He would entertain the folks for the whole period of Ramadan. Waidy would sleep end eat at our house, end I watched him practice every day. Then we found another guitarist in Ouidah named Aaron; he was cheaper. We did that for few years until around ’62-63. Throughout those years I never took lessons; I just watched those guys play and tried to copy them on a guitar I built using fishing line and some other tools. In ’63 for some reason we didn’t manage to find a musician to entertain the town, and Ramadan was approaching rapidly. The elders were panicking. I told them not to worry – I would play. They wondered, “When did you learn to play?”, “I will play!” I replied. On the first evening of Ramadan it happened. I performed using just two strings. The next morning people came to see my father to ask him if I was a genius or possessed by evil spirits. Soon youngsters started knocking on my door asking for guitar lessons. They would stay here for two, sometimes three months. We would discuss the price for accommodation, food and beverage. Most of my students used to pay with rice or meat; the ones who had money would pay 50.000 CFA for one month and 100.000 CFA for three months. That’s how I used to earn my living. My first band at that time was named Alafia Jazz. We covered Rumba songs by Franco – that’s where I got the artist name Mama Franco from. I changed the name of the band to OK Jazz later in ’64. A few years later we started to develop our own musical identity based on traditional rhythms and songs from the region. At some point I started thinking, We are the best band from northern Benin singing in Dindi and Bareba, but we have a Congolese name – not good! I decided to choose a name that would show our origins, so we renamed the band Super Borgou de Parakou. Ousman Amoussa handled backing vocal and gon, Sidi Alassane was on the toumba and kit drum, Sidi Seidou played traditional percussions, Soulaima Karim sang lead, Mama Biogado played the bass, Menou Roch was our rhythm guitarist and I was on lead guitar and vocals. We started touring Niger in ’69. We found a job at a bar called Congolaise; the owner was a former Guinena military man who disagreed with the politics of Sékou Touré and had fled the country with his Vietnamenese wife. They were a very sweet couple, so we dedicated this song to them. All the money we managed to earn working in Niamey was invested into better equipment, amps, guitars and other stuff. One day I remember entering a music shop to buy a flute back in ’71 when I heard someone playing an instrument I had never even seen before. The sound was absolutely gorgeous. I asked the seller what kind of instrument that is, to which he replied, “It’s an organ“. I asked for the price. He told me 140.000 CFA. We had saved 300.000 CFA, so I bought that organ on the spot. That was on a Monday; by Saturday I played the whole set using it. It took me a day or two to understand it, but it wasn’t really a problem. On the third or so day I used our new acquisition to compose a hugely successful Afrobeat song called Da Doga Bouyo Inin Be. The first musical competition we did was in ’72 in Cotonou At that time the government would choose one band from each state. Poly-Rythmo, Echos du Zou and many others were all competing. We won and consequently were invited to the International Music Festival in Berlin, Germany.

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Afro National (Sierra Leone, 1976)

Here si a special album and a new country on Oro. The Afro National from Sierra Leone is a solid band with a powerful variety of styles: afro-beat, with the dynamic cover of Fela's tune "Who're you?", afro-funk, afro-psyche and afro-cuban. I personnally love the slamming sound of the drums and the voice of Patricia Koroma, later Abubakar, on the title "Wonder Muye". We will discover more of her in an upcoming Afro National's post. This album was edited by an the label Makossa Records in 1976. It is ar reissue of a Sonafric's album released in 1975, but without the great "Mister Who you be?". here is the cover (thank you Ken Yatta for the aditional infos):

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Voici un album vraiment special. Le groupe Afro National de Sierra Leone est un orchestre solide dans la variété des styles est redoutable: afrobeat, avec la dynamique reprise du titre de Fela "Who're you?", afro-funk, afro-psyche, afro-cubain, bref, toute l'Afrique. J'aime personnellement le son claquant de la batterie et la voix essentielle de Patricia Koroma, futur Abubakar, sur le titre "Wonde Muye". Nous découvrirons plsu amplement cette diva Sierra Leonaise dans un prochain courrier d'Afro Naitional. Cette album a été édité par un label Makossa Records en 1976. C'est une réedition de l'album produit par Sonafric en 1975 mais sans le puissant "Mister who you be?" (voir ci-joint). Merci à Ken Yatta pour cette denière info.

Souradjou Alabi & His Akpala Music (ALS 133)

After Dossou Letriki, let's continue our journey through the rhythms of Benin and the label Albarika Store. This number 133 presents Souradjou Alabi, master of rhythm Akpala. This rhythm, which is common in Yoruba people from Benin and Nigeria, appeared in the twentiest century. In Nigeria the master of Akpala is Ishola haruna. Recorded in 1984, this album preceded that of Miguelito. Both have the same back cover, a picture of the football team "The Dragons of Porto-Novo", and both pay a tribute to the team through a song.

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Après Dossou Letriki, continuons notre voyage à travers les rythmes du Bénin et le label Albarika Store. Ce numéro 133 nous présente Souradjou Alabi, maîter du rythme Akpala. Ce rythme, qui est commun aux peuples Youruba du Bénin et du Nigeria, est apparu au début du XXème siècle. Côté Nigeria, le maître de l'Akpala est Ishola Haruna. Enregistré en 1984, cet album a précédé celui de Miguelito. Tous deux possèdent la même pochette arrière, une photo de l'équipe de football des Dragons de Porto-Novo, et tous deux leur rendent hommage dans une chanson.

This is Marijata & Osibisaba

A new blog appeared in August, devoted to Ghanaian music. I invite you to discover Osibisaba and one of its post about  Marijata. Ghana, Cameroon, Congo, Benin, blogs specify, for happiness of all.

Un nouveau blog est apparu au mois d'Août, consacré à la musique Ghanéenne. Je vous invite donc à  découvrir Osibisaba ainsi que ce superbe album de Marijata. Ghana, Cameroun, Congo, Bénin, les blogs se spécifient, pour le bonheur de tous.

Marijata & Osibisaba

Marijata was a group of three members, Addison 'Electric' Kofi on guitar, Bob Fischian on the organ and Nat Osmanu also on guitar. They were formed in the heart of the band the Sweet Beans with the young singer, guitarist Pat Thomas. Marijata were, according to their notes pockets, "attempting to bring some freshness and the return of Raw Funk" in their recordings. Their first LP: "This is Marijata", on the Gapophone label, is pure Funk Rawest Africa. Gapophone Records was a label founded by a young producer, Mr. George Appiah Prah, after his return from London where he lived for a period. Marijata has to his credit only two LPs on Gapophone but so essentialfor any collector of vinyl Afro Funk.

Marijata étaient un groupe de trois membres, Addison 'Électrique' Kofi à la guitare, Bob Fischian sur l'orgue et Nat Osman à la guitare. Ils ont été formé au cœur de l'orchestre les Sweet Beans dont le jeune chanteur, guitariste, Pat Thomas fesait parti. Marijata, selon leurs notes de pochettes, "essayaient d'apporter une certaine fraîcheur et le retour du "Raw Funk" dans leurs enregistrement Ghanéen des années 70. "This is Marijata" sur le label Gapophone, est du pur son Funk Rawest Africa. Gapophone Records était un label fondé par un jeune producteur, Mr. George Appiah Prah après son retour de Londres où il a vécu pendant une période. Marijata a donc à son actif seulement deux LP sur Gapophone mais tellement essentiels pour tout collectionneur de vinyls Afro Funk.

LOUIS WASSON feat. Ignace de Souza, Danialou Sagbohan, Miguelito (Cameroon/1979)

Louis Wasson is a great guitarist and arranger from Cameroon. During the 70's, he spent few years in Benin recording with numerous artists such as Danialou Sagbohan or Ambroise Fidegnon. He also arranged albums like that of Antoine Dougbé (watch links). All his recordings are remarkable.

On this soukous and reggae LP, Ignace de Souza is on trumpet, Danialou Sagbohan i the battery and Miguelito is the chorus, no less... A rare record with excellent arrangements and amazing guitars. I only regret that Sagbohan does not solo, but as he says: "I work for the band, a drummer must remain humble". This number 175 from label Satel was recorded in 1978.

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Louis Wasson est un grand guitariste et arrangeur Camerounais. Durant les années 70's, il passe plusieurs années au Bénin où il enregistre avec des ténors tels que Danialou Sagbohan ou Ambroise Fidegnon. Il arrrange aussi des albums notamment celui d'Antoine Dougbé (voir lien). Sur tous ces enregistrements Wasson est remarquable.

Sur ce 33 tours soukous et reggae, Ignace de Souza est à la trompette, Danialou Sagbohan à la batterie et Miguelito aux choeurs, rien que ça. Je regrette seulement que Sagbohan n'execute pas un solo, mais comme il dit: "Je suis au service de l'orchestre, un batteur doit rester humble". Ce numéro 175 du label Satel a été enregistré en 1978.

Adjaho Coffi & Poly-Rythmo: "Hommage..." (1977)

I have already submitted Adjaho Coffi in these posts. A great artist, musician and playwright who has always composed with Poly-Rythmo and Sagbohan Danialou. This composition honors the heroes fo Dahomey, King Behanzin and Bio Guerra, resistant to the french invader. Irony of fate, the record has been edited by a French label. Adjaho's compositions are very sophisticated and dramatic. One recognizes immediatly Adjaho.

Je vous ai déjà présenté Adjaho Coffi dans ces courriers. Un grand artiste, musicien et dramaturge qui a toujours composé avec Poly-Rythmo et Sagbohan Danialou. Cette composition rend hommage aux héros du Dahomey, le roi Béhanzin et Bio Guerra, résistant aux envahisseurs Français. Ironie du sort le disque est édité par un label Français. La musique d'Adjaho est sophistiquées et dramatiques. On reconnait immédiatement Adjaho.

King Behanzin

King Behanzin was strongly opposeed to the occupation of his country, Dahomey. His army was known for its elite, composed only of warrior women, the "Amazons". In 1891, France decided to hold Abomey, the royal capital. Behanzin was captured in 1894, deported in Martinique then in Blida, in Algeria (as you can see on the picture). He died in 1906. It was the end of resistance history of Dahomey.

Le Roi Béhanzin s'opposa farouchement à l'occupation de son pays, le Dahomey. Son armée était connue pour son élite, composée uniquement de femmes, les Amazones. En 1891, la France décide d'occuoper la ville Royale d'Abomey. Le roi est capturé en 1894, dséporté en Martinique puis à Blida, en Algérie (voir la photo). Il mourut en 1906. C'était la fin de l'histoire de la résistance du Dahomey.

Bio Guerra

Bio Guerra was a famous resistance fighter during the French colonization. On December 17, 1916, he was arrested and beheaded as an example.

Bio Guerra était un célèbre resistant durant la colonisation Française. Le 17 Décembre 1916, il est arrêté et décapité pour donner l'exemple.

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Orchestre Les Volcans du Bénin (1980)

I should have post this record a long time ago but this album is not so easy to find. Recorded around 1980, i think Nestor Hountondji is not featuring in the band. All songs, except the famous "Oya Ka Jojo", were composed by Julien Da Costa (no information about him) and interpreted by Joseph Lawani (no information also). So I let you listen to 
this major album.

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J'aurais du poster ce disque il y a longtemps mais cet album n'est pas si facile à trouver. Enregistré vers 1980, je crois que Nestor Hoountondji ne figure pas dans la formation. Tous les morceaux, excepté le célèbre "Oya Ka Jojo" composé par l'orchestre, ont été composés par Julien Da Costa, dont je n'ai aucune information, et interprétés par Joseph Lawani, dont je n'ai aussi aucune information. Je vous laisse donc savourer cet album majeur.

Ethiopia 1974: Menelik Wossenachew, Mahmoud Ahmed, Getatchew Kassa.

Jam Magica is again making us travel to the East. In the first Ethiopian post, we had only one side of both Mahmoud Ahmed and Getatchew Kassa. Today we can apreciate the all EP's. We have also another gift, Menelik Wossenachew, a huge artist in Ethiopia.

Menelik Wossenachew (AE 810)

This is the side 1 of first Mahmoud Ahmed's record (MA 001).

Mahmoud Ahmed

"Yealem Baytewar"

And also the side 1 of Gebtachew Kassa edited on Philips' label.

Getatchew Kassa

"Gofere Hugnilign"

Orchestre Daho-Melo (1965)

Here is a new orchestra on Oro, the Daho-Melo which is one of the oldest band of modern music in Benin, the same generation as the Picoby Band, Renova Band, Super Stars de Ouidah or Sunny Black's Band. In this EP, recorded during the annual music bands festival, we find a title composed by Nestor Hountondji ("Bokonon Eh"). Hountondji is everywhere. He plays, composes or lead in many bands: National Jazz du Dahomey, Renova Band, Les Volcans, Daho-Melo. Perhaps because he was a Policeman ? In any case, he is a great artist.

As usual at this time, there are afro-cuban rhythms, rumba, bolero and a cara-cara rhythm that I do not know.

Voici un nouvel orchestre sur Oro, le Daho-Melo. Daho-Melo est l'un des plus anciens groupes du Bénin, de la même génération que les Picoby Band, Renova Band, Super Stars de Ouidah ou Sunny Black's Band. Sur ce 45 tours, enregistré durant le festival anuuel des orchestres modernes, on trouve un morceau enregistré par Nestor Hountondji ("Bokonon Eh"). Décidément, Hountondji est partout. Il joue, compose et dirige dans de nombreux groupes: National Jazz du Dahomey, Renova Band, Les Volcans et Daho-Melo. Peut-être parce qu'il était gendarme ? Dans tous les cas, il est un grand artiste.

Comme d'abitude à cette époque, on retrouve des rythmes afro-cubains, Rumba, Bolero et certain cara-cara, un rythme que je ne connais pas.

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Dossou Letriki (ALS 139)

I found a dozen of rare records on Albarika Store label, all traditional music recordings. I Propose to explore them chronologically but in reverse order. I also suggest you to discover all the different rhythms that have populated the kingdoms of Benin's music.

We start with the number 139, recorded in 1984 and which rhythm is called "Egoun" (See illustration and for those who have forgotten the Egun's story, see these pages). The author and orchestra's leader, Migbogohin Assogba Dossou aka Dossou Letriki, has the status of Yedenou Adjahoui's student. He plays a fetish rhythm from the people of Port-Novo, the "Masse-Gohoun". Adjahoui was the king of this rhythm and when the king died in 1995, Letriki became the reference. In march 2010, the student joined the master. He leaves behind children and women, and about thirty albums. Letriki is coming back today with this nice quality sound recording and melodies haunted by the spirits of Egun.

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J'ai trouvé une série de disque rares sur le label Albarika Store, tous des enregistrements de musique traditionnelle. Je propose de les découvrir chronologiquement mais en commençant par la fin. Je suggère aussi de découvrir tous les differents rythmes qui ont peuplé les royaumes musicaux du Bénin.

On commençe donc avec le numéro 139, enregistré en 1984 et dont le rythme est celui des "Egoun", ou revenants (voir l'illustration et pour ceux qui ont oublié l'histoire des "Egoun", conlustez ces pages). L'auteur et chef d'orcestre est Migbogohin Assogba Dossou alias Dossou Letriki. Il était un élève de Yedenou Adjahoui, le roi du rythme "Masse-Gohoun", un ryhtme fétiche pour les habitants de Porto-Novo, la capitale. Depuis la mort du roi en 1995, Dossou Letriki est devenu une référence. En Mars de cette année, l'élève a rejoint le maître. Dossou Letriki, laisse derrière lui des enfants, des femmes et une trentaine d'oeuvres phonographiques. Letriki nous revient aujourd'hui avec cet album d'une bonne qualité d'enregistrement et dont les mélodies nous rappelles aux esprits des "Egoun".

K. FRIMPONG (Ghana/1977-78)

It seems that my last post about K. Frimpong has been enjoyed by a lot of people. Here is a deeper trip into Alhaji 's afrobeat. It is quite difficult to find informations about him and his bands but I'll try to do my best. I would like to thank "Ogoun Ferraille" ("Ogun Scrap") who offered this great selection of titles.

In the mid-70s, K.Frimpong recorded with two orchestras simultaneously. Let's begin with the Vis-A-Vis band. The first album was recorded in 1977 on the label Probisco Records (KBL 068). It has been reissued later on Makossa International Records (MA 7076). One of the best Vis-A-Vis album.

-Obi Agye Me Dofo

-Kankyema Ntoaso Ne Awadee

Vis-A-Vis was led by Isaac Yeboah, based in Kumasi and featuring some of the Ghana's finest musicians of the 70's: Sammy Cropper on lead guitar, Slim Yaw on bass and Kung-fu Kwaku on drums. This other album with Vis-A-Vis was recorded in 1978 on the label Ofori Brothers. Have pleasure...

-Aboagyeawaa

The other Frimpong's backing band was The Cubano Fiestas. In fact, Vis-A-Vis is the same band as the Cubano Fiestas except different members like George Amissah who plays Saxo alto, George Abunah (sax ténor) and Arthur Kennedy (trompette). These three guys were used to play with Ebo Taylor. I would like to thank Cyril from Afrofever for those additional informations.

The first recording seems to be from 1977, still on the label Ofori Brothers. We all know this album because of the famous title "Kyenkyen Bi Adi Mawu" which made Frimpong become an international and respected artist. Here are two melancholyc diamonds:

-Kyenkyen Bi Adi Mawu

-Gyae Mensu

The other album recorded with the Cubano Fiestas was edited in 1980 on Polydor's label. Those two titles are again two wonderful 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...

-Me Yee Owu Den

-Nye Mea

Another great album recorded with The Cubanos Fiestas. One of the best I think. Mounted by afrobeat 's god.

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Orchestre Renova Band d'Abomey (1965)

Renova Band were part of the the 60s scene in Dahomey (Benin). Together with Super Star de Ouidah and Orchestre Picoby Band among others, Renova Band formed the first generation of modern music bands in Dahomey, mixing new genres like rumba, cha-cha-cha, salsa and jerk with traditional and local elements. The leader of the band was William Basile and one of its member, composer and singer, was the famous Nestor Hountondji (leader of the "Volcans du Bénin"), who composed "Dada Sagbo" and "Bonne Année". This EP is the first from "Discafric" label and it was released in 1965. After those first recordings, Renova Band life will be transformed by the arrival of a new member. I will count you in a next episode...

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L'Orchestre Renova Band fait parti de la première génération de groupes qui émerge en 1963. Avec d'autres comme Super Star de Ouidah, Picoby Band ou Dany Band, Renova Band reprend des rythmes tels que rumba, cha-cha-cha, salsa et jerk et y intègre des éléments traditionnels et locaux. Le chef d'orchestre était William Basile et l'un des membres du groupe n'était autre que le grand Nestor Hountondji, futur chef d'orchestre des Volcans du Bénin. Sur ce premier 45 tours du label Discafric, dâté de 1965, Nestor y compose "Dada Sagbo" et "Bonne Année". Après ces enregistrements, la vie de Renova Band sera transformée par l'arrivée d'un nouveau membre. A suivre...

Yedenou Adjahoui (1983)

Yedenou Adjahoui was born about 1930 in Avrankou, near Porto-Novo. He started music at the age of 12 with his brother and was initiated, at the same time, into Vodoun Sakpata, the god of earth. He was both traditional leader, healer and songwriter. Adjahoui was very popular because he had a great talent as a speaker and columnist. He was the master of rhythm Massè Gohoun, a traditional rhythm of the Goun tribe. He recorded over 50 records and about 30 tapes. He died in 1995.

Yedenou Adjahoui est né vers 1930 à Avrankou, près de Porto Novo. Il commençe la musique à l'âge de 12 ans avec son frère tout en étant initié au Vodoun Sakpata, le dieu de la terre. Il était à la fois chef traditionnel, guérisseur et auteur-compositeur. Adjahoui était très populaire car il avait un grand talent d'orateur et de chroniqueur. Il était le maitre du rythme Massè Gohoun, un rythme traditionnel de l'ethnie des Goun. Il enregistra plus de 50 disques et environ 30 cassettes. Il meurt le 11 Août 1995.

OOLP 001

After many recordings with the label Albarika Store, he started recording, in 1983, with the label of a Yoruba car dealership, Ola Oluwa Ni. Here are his first two albums on this label, the N°1 and the N°4.

Après de nombreux enregistrements avec le label Albarika Store, il enregistre à partir de 1983 sur le label d'un grand concessionnaire de voiture Yorouba, Ola Oluwa Ni. Voici ses deux premiers albums sur ce label, le N°1 et le N°4.

OOLP 004

Ethiopia, 1974: Mahmoud Ahmed, Bahta G.Hiwot, Getatchew Kassa.

Oro is not used to Ethiopian music, but thanks to Jam Magica, again, let's begin with the great middle 1970s period and four rare records. Thank's a lot Jam...

Born in Addis Ababa, Mahmoud shined shoes in that city before becoming a handyman at the Arizona Club, where he first sang professionally in the early 1960s. He sang for the Imperial Body Guard Band until 1974's revolution, and recorded with other bands for the Amha and Kaifa record labels throughout the 1970s.

Mahmoud Ahmed (MA 001) side 2

Since the late 1990s he has enjoyed a resurgence in popularity in Europe and the Americas since Buda Musique launched the Ethiopiques series on compact disc. Let's discover those first own productions, accompagnied by Dahlac Band, from this incredible voice, mounted by gods.

Mahmoud Ahmed (MA 002)

Bahta Gebre Hiwot began his musical career as a member of the house band at the Ras Hotel in Addis Ababa. Hiwot played with this band for many years but he managed to record several solo singles, including the charming "Tessassategn Eko", which was arranged by master Mulatu Astatke.

Bahta Gebre Hiwot (AE 690)

Getatchew Kassa is known for composing the most revolutionary pieces, among all, his reinterpretations of the revered traditional "Tezeta", in both slow and fast versions.

For more infos check out the great Ethiopian music discographie on Funkidelity's blog.

Getatchew Kassa (PH 249)

El Rego & Ses Commandos (Radio Dahomey, 1969)

Theophile Do Rego, known as "El Rego" was born May 3, 1936 in Porto-Novo, Dahomey. He grew up in Senegal and started his musical career in Burkina Faso with the orchestra "L'Harmonie Voltaïque". He returned to Benin (Dahomey) in 1961 and founded his first band, "La Filda", then his "Commandos". El Rego is a dandy who loves beautiful women. He had even once owned a "girls club". Passionate of boxing, he has organized numerous battles in Benin. He is now president of a regional boxing league. In July 2010, Theophile Do Rego has announced the end of his musical career.

This record, produced by the label "Radio Dahomey", is offered by the great Jam Magica's blog. It has been composed (except the title "Kpon Fila", composed by El Rego) by a little known artist: Vincent Olla. The title "Vive Le Renouveau" ("Long Life Revival") is an original and hybrid blues.

Théophile Do Rego, alias El rego, est né le 3 Mai 1936 à Porto-Novo, Dahomey. Il a grandi au Sénégal et commençe sa carrière musicale au Burkina Faso avec l'orchestre Harmonie Voltaïque. Il rentre au Bénin (Dahomey) en 1961 et fonde son premier orchestre, La Falda, suivi de ses Commandos. El Rego est un dandy qui aime les belles femmes. Il a même, jadis, tenu un "club de filles". Passionné de boxe, il a organisé de nombreux combats au Bénin. Il est aujourd'hui président d'un ligue de boxe régionale. Au moi de Juillet, il a annonçé la fin de sa carrière musicale.

Ce disque, enregistré en 1969 par le label Radio Dahomey, nous est offert par le grand blog Jam Magica. Il a été composé (excépté le titre "Kpon Fila", composé par El Rego) par un artiste peu connu: Vincent Olla. Le titre "Vive Le Renouveau" et un Blues original et Hybride.

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L'Aube Nouvelle: Marches militaires Dahoméennes (1965)

Benin (formerly Dahomey) celebrated its 50 years of independance on August 1. I think it is interesting to discover its anthem, recorded in 1965, by the Dahomey's national military band. Thsi record is politically rich. On side 1, "L'Aube Nouvelle" (The New Dawn), anthem of Dahomey, was composed by a Dahomeyan catholic priest, Father Gilbert Dagnon. On the other side, the title "Dada Segbo" was composed by the king of Dahomey himself, King Glele. Two opposing worlds on opposite sides...

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Le Bénin (ancien Dahomey) a fêté ses 50 ans d'indépendance le 1er Août. Je pense qu'il est donc intéressant de découvrir son hymne national, enregistré en 1965, par l'orchestre de la Gendarmerie Nationale du Dahomey. Ce disque est politiquement riche. Sur la face a, "L'Aube Nouvelle", l'hymne du Dahomey, a été composé par un prêtre catholique Dahoméen, l'Abbé Gilbert Dagnon. Sur la face b, le titre "Dada Segbo", a été composé par le roi du Dahomey, le Roi Glélé. Deux mondes qui s'opposent sur deux faces opposées...