Today, March 6th, marks the 55th anniversary of Ghana's independence from British colonial rule. Let us celebrate with this classic highlife album by B.B. Collins, featuring master guitarist Sammy Cropper and the beautiful lead vocals of Baffour Kyei.
"Nana Ampadu wo he?" (Where is Nana Ampadu?) the Manager Rover Amo, asked Joe Dee. The time was exactly 7:45 a.m in that Summer morning. The recording was billed to commence at exactly 8 a.m., but Nana Ampadu I, the Leader, was not in the Studio. Rover Amo was wondering what had become of him. Donkor, Joe, Asare and others were discussing the issue. An unmistakable sign of dejection and consternation began to show up in their faces. The studio had been booked for only an hour and it was just a few minutes to 8 a.m. The studio manager had arrived, followed by the producer, Mr. Akie Dean. The instruments had been fixed and just as they were tunning their guitars, Nana strutted in, looking cheerful and feeling on top of the morning.
"Me ma mo Akye ooh" Nana said,
meaning (Good morning). Exhiliration filled in them and hilarious smile began to steal up in their faces. Nana strapped his guitar and fixed the wah-wah peddle. Rover Amo then whispered to Nana Ampadu, "Just give me a meddley LP, and give me the best, Okey?"
"Right, Amo" Nana Ampadu whispered back. Nana Ampadu turned to the Guys and enunciated,
"You all know we are Africans, play with an African feeling, Okey?"
Mr. Akie Dean took his mic and the electronic device b o o m e d .........
Fidie Wura by Akwaboa's Band is a beautiful, laid-back gem of an album. The songs featured on this record are smooth and effortless, with rootsy harmonies, acoustic guitar playing, and singing characteristic of traditional Akan music and palm wine highlife. All of Akwaboa's recordings are excellent, but this album really wonderfully demonstrates the intimate relationships which exist between electric guitar-band highlife, palm wine, and traditional Akan music. And what a great album cover too!
John Storm Roberts' Original Music label released some fantastic, groundbreaking compilations of old African music from across the continent during the 1990s, so it's a shame that these CDs are now out of print and so difficult to find. I've Found My Love is, to me, one of the particularly special Original Music releases. Each one of these electric, guitar-band highlife tunes is more excellent than the last! Old-time greats like King Onyina and S.K. Oppong appear, along with other familiar names like Akompi, Akwaboa, and the Royal Brothers. If you enjoy this music check out Akom Ko(another similar compilation) over at Likembe, this one also featuring a few dance-band style tunes.
The liner notes included with I've Found My Love don't seem particularly well written in my opinion in terms of content and scope, but they're worth checking out for some general historical background on highlife if you'd like:
Also, I feel compelled to give brief mention of track eleven, Akompi's "Ose Obeko." This tune begins with a unique solo bass introduction that really strikes me each time I listen to it. Here, the bass (possibly an upright?) mimics the playing style of the Ashanti Atumpan drums (often referred to as "talking drums"). Played in pairs of two differently pitched drums, the Atumpan is used to express verbal phrases, proverbs, and appellations. The experienced player is able to translate these speech patterns (many of which are set phrases) onto the Atumpan based upon the different tones of the Twi language (it should be noted that the Ga and Ewe do use the Atumpan as well in relation to their own languages). I think this example of Atumpan drumming translated onto a bass is rather remarkable, so I've included the track here for your listening:
Also, I feel compelled to give brief mention of track eleven, Akompi's "Ose Obeko." This tune begins with a unique solo bass introduction that really strikes me each time I listen to it. Here, the bass (possibly an upright?) mimics the playing style of the Ashanti Atumpan drums (often referred to as "talking drums"). Played in pairs of two differently pitched drums, the Atumpan is used to express verbal phrases, proverbs, and appellations. The experienced player is able to translate these speech patterns (many of which are set phrases) onto the Atumpan based upon the different tones of the Twi language (it should be noted that the Ga and Ewe do use the Atumpan as well in relation to their own languages). I think this example of Atumpan drumming translated onto a bass is rather remarkable, so I've included the track here for your listening:
