from the LP Progress, Phonogram Records, 1975
Existing somewhat in the shadow of one-time collaborator Fela Kuti’s ghost, drumming legend Tony Allen is arguably every-bit as responsible for the construction of what we call “afrobeat” as was Fela, generating chunky rhythms from the vibrations of jazz, funk & highlife in such an addictive manner that it hypnotizes the listener entirely and thus, we never seem to notice how long most afrobeat songs actually are. Allen was beginning to grow tired of Fela’s unceasing narcissism by the mid ‘70s, but had his support in this and two other solo endeavors from that time period, which allowed Allen to utilize much of their well-rounded backing band, the Africa ’70. Tony Allen has enjoyed a resurgence of stature in recent years, being asked to collaborate with some notable musicians of late, including Jarvis Cocker, Damon Albarn, and the French space-synth crew Air. I dedicate this post to the brave people of Tunisia & Egypt, may your valor set you free!
from the 7” single, Philips Records, 1974
Anyone seeking an understanding of the direct link between many styles of Latin music and the African continent should begin their musical journey in western Africa, the area where a huge percentage of those living in South America & the Caribbean can trace their lineage back to, and the region which served as the continent’s richest source of rhythm-based music. The term “highlife” is used to describe a gumbo of varying musical styles which came to be mixed together during the Colonial period, but really got going during WWII as jazz & swing music gained more popularity in the growing urban centers of countries like Ghana, Togo & Nigeria. Found primarily in the southern region of Ghana, the Ewe people have contributed greatly to this body of melodic fusion, which isn’t surprising when you consider that Ewe culture sees drumming as a holy activity, believing that if someone drums skillfully, they have been given the sprit of drumming from an ancestor who also drummed… dig it. T.O. Jazz was one of the more popular Ewe highlife crews in Ghana, and although I have no clue what they are saying, this funky little number never fails to get my body moving & grooving. Music is universal!
from the LP Nigeria 70…, Strut Records, released: 2001, recorded: 197?
This past decade really spoiled us westerners with a seemingly unending glut of top quality compilations covering popular African music in the late ‘60s & ‘70s, exposing us to the considerable depth of localized talent found across the entire continent, far more sounds and grooves than the Fela or Ladysmith records we’d heard before. Of particular interest to us heads are these comps which focus on the fusion that was created when western musical trends cross-pollinated with the indigenous rhythms and cadence; the result: bloody fucking brilliant! The western African nation of Nigeria has proven to be of particular interest, and having the densely populated & relatively metropolitan capital of Lagos as its hub helped to forge a record-pressing industry that was nearly on par with those in Brazil and Colombia at that time. I couldn’t find any information on this particular group, but they sure as hell know how to develop one funky-ass groove---that explosion of fuzzed-out, psych rock guitar near the end of the song (right at 4:06) grabs me every time. Dude, homeboy in the cover photo is stylin’ yo, from the diagonal fade to those “fuck-off” boots, you know these cats came to party!
from the LP The Vodoun Effect, Analog Africa Records, 1972
Music is universal, dig? You don’t have to understand the words to be able to receive the vibrations; more cowbell anyone?!? Sounding very much like the Grateful Dead goes to Africa, this stellar jam from Benin-based crew, the Orchestre Poly-Rythmo de Cotonou, is a refreshing example of how the Western sounds & trends of the late ‘60s influenced more than just a grip of white kids in the suburbs; indeed, the music scenes in Nigeria, Benin, the Ivory Coast and many other countries around the African continenet were strongly impacted by the psychedelic revolution, adopting many of the fuzzier flourishes as accoutrements to their native Hi-Life and Afrobeat jams. Songs like this make me feel that, indeed, cultural diffusion can be a beautiful thing.
Ibiza, Spain: May 11th, 1985
Much has been written about the important role the dance clubs and parties held in Ibiza during the early – mid ‘80s played in the foundation of what became known as the rave scene, so just a quick summary: the DJs at clubs like Pacha and Amnesia (both of which are still open to this very day) took to spinning an exceptionally diverse range of musical genres in their sets, virtually anything with a beat---I’m not kidding, as you will hear, it wasn’t uncommon to go through afrobeat, old school funk, italo, new wave, indie rock, jazz-funk, electro, post-disco and post-punk all in the span of an hour’s time! They also spun and began producing their own style of beats on Roland 909s, a concoction of slow, tribal-feeling electronica that we’ve never really seen again. Meanwhile, outside the hustle and bustle of the island’s cities, there were parties happening alongside the cliffs, hillsides & beaches which would go all night, people taking MDMA and mushrooms & then dancing for hours on end. Famed British DJs Paul Oakenfold and Danny Rampling, then just getting their careers going, spent a couple of summers there and brought the ideas back to England, becoming an important part of the groundwork which was “rave”. DJ Moz-Art (that’s him on the far left in the picture, mouth agape, seated next to the illustrious Ms. Grace Jones) was one of the more popular Balearic DJs, and though there is some definite beatmatching issues here, perfection was never the point---it’s all about the groove. This sort of chill & soulful vibe has long been relegated to side-rooms or afterhours parties, but back in the day it reigned supreme all night long; quite frankly, I bet is was much easier to handle dancing on ecstasy to this slower-paced stuff than the house and jungle we flailed about to!
from the LP Afrodisiac, EMI Records, 1972
Relatively few musicians from the developed world are ever held to task for the opinions and stances they take on their albums; at worst, they might be boycotted by some fucktarded group of bored Christian housewives or lose the chance to have their tunes peddled at Walmart. In the case of Fela Ransome-Kuti, he was repeatedly harassed, jailed, and tortured by the government of his native Nigeria throughout much of his career, even seeing his mother murdered by the police, yet he continued to speak out against the hypocrisy and negligence he saw there; in so doing, Fela became an international symbol for human rights. The music backing his message was just as strong, a mix of jazz, funk and African highlife, congealing into an earthy and rootsy stew.
from the LP Progress, Phonogram Records, 1975
from the 7” single, Philips Records, 1974
from the LP The Vodoun Effect, Analog Africa Records, 1972
from the LP Afrodisiac, EMI Records, 1972
