I would like to direct you to the blog "Bentleyfunk," which recently posted a copy of the African Brothers' album Tribute to D.K last week. This album has been on my mind recently, and I figured many readers might not be aware of its availability online. Founder of such Ghanaian record labels as Obobua, Aduana, and Happy Bird, D.K. Nyarko served as the producer of the African Brothers Band starting in 1967. This album was recorded after Mr. Nyarko's death, and features four subdued & emotional songs dedicated to him. Of particular note is the deep "Kyeremirekuku" and an unusual rendition of a traditional flute dirge played on the organ at the beginning of the third tack. Please enjoy this absolutely wonderful album.
African Brothers Band - Ma Me Nsu Ma Wo
D.K. Nyarko
Update: As Moos has kindly pointed out, the blog Bentleyfunk seems to no longer exist. I've uploaded the original download from this now defunct blog. Download Tribute to D.K. HERE.
Lately I just can't get enough of this "Nigerian-ized" Ghanaian highlife music. Many great highlife albums were recorded in the 1970s and '80s by Ghanaian bands either living in Nigeria (such as Okukuseku) or aiming to target West African markets outside of Ghana. The music that these types of groups created has a particular feel and sound; it is practically unique enough to be categorized within its own genre. Rhythms, guitar riffs, and melodies reflect influences from within, as well as outside of Ghana. At the same time, many songs are sung in Pidgin English in addition to local Ghanaian languages (like the title track on this album). In this way songs were made intelligible to Nigerian listeners.
Hello there! I apologize for the long gaps between posts around here lately. To make up for this, I offer one of my favorite highlife albums, Ogyatanaa's Yerefrefre (this record also might just have one of the best covers ever!).
The Ogyatanaa (or "burning torch") Show Band was founded in 1971 by Kwadwo Donkoh, a former diplomat turned highlife musician and record producer. I don't have much information about Donkoh, yet I consider him one of the big names in Ghanaian highlife, a behind-the-scenes figure and master arranger/composer. In addition to his work with Ogyatanaa, Donkoh founded Agoro records in the early 1970s. Agoro released diverse popular and traditional records, and later it would introduce the first albums by Ga cultural groups like Wulomei.
On this first album by the Ogyatanaa Show Band, we have classic tracks like "Mmobrowa" and a funky "Yaa Amponsah," yet my absolute favorite here is the "Yerefrefre" medley on side one, a twenty minute long track which pays tribute to Ghana's highlife greats. Musicians like E.K. Nyame, C.K. Mann, King Onyina, E.T. Mensah, Nana Ampadu, and K. Gyasi are acknowledged, while hit songs by these artists are also "quoted" throughout the medley. The group switches rapidly between songs, offering snippets of such tunes as E.T. Mensah's "All for you" and the Black Beats' "Lai momo."
In honor of "One Man Thousand" Alex Konadu who passed away last month (see obituary in previous post), I offer you this 1983 album Dua Ayi Me. Here we have Konadu at his finest, joined by B.B. Collins Marfo of "Powerful Believers" fame on lead guitar and backing vocals.
Also, be sure to check out Alex Konadu's first album Nsa Dwa Se, which was recently posted over at Global Groove. Enjoy!
According to several online sources, highlife musician Alex Konadu passed away some weeks ago on the eighteenth of this month. Below is an obituary written by George Ernest Asare, which may be found here.
Alex Kwabena Konadu, the man who hit the limelight in the late 1970’s with his brand of highlife songs such as Asaase Asa, Agya Ata Wuo, Aweie and Asem Bi Adi Bone has died. He died in Kumasi on January 18, 2011 at the age of 63.
Popularly known as One Man Thousand, Alex Konadu died at a time he and his bosom friend, Professor Kofi Abraham, had accepted an invitation to rock the Sunyani municipality with a highlife and gospel music concert at the end of January. Barely two weeks before the ‘D’ day, Konadu was taken ill, and with support from Kofi Abraham, he sought medical care at various health care institutions in Kumasi. Just as he was gradually recovering, he suddenly relapsed and was taken to Bomso Clinic in Kumasi by Kofi Abraham but as if to say that enough was enough, he gave up the ghost a few hours later.
“His death is a great loss to me. This is because he was more than a friend, and we have totally become inseparable over the years. We were a great pair at this stage of our lives, and did almost every thing together," a wet-eyed Prof Abraham told Showbiz. When asked to describe Kwabena Konadu, Professor Abraham said, “ he was in a class of his own in terms of highlife music. This is because he did not only use his music to comfort mourners at funeral grounds, but also succeeded in encouraging the downtrodden to appreciate their values in society. He also used highlife music to entertain all classes of people at drinking spots, festivals and marriage ceremonies among other programmes to make life more meaningful to them”.
Stressing, Professor Abraham noted, “What endeared him most to music lovers was his desire to entertain his fans by honouring all manner of programmes. He was down to earth, and easily socialized with all classes of people, so his death is a huge loss, not only to me, but many lovers of highlife music, especially our generation, who were completely consumed in highlife music” he said.
According to family sources, the ace highlife musician left behind a wife, Adwoa Fordjour, and 12 children.
The legendary King Onyina is well-known and loved for his old-time guitar band music, in particular the variety found on I've Found My Love and the African Guitar Series CD. Kwabena "King" Onyina himself was an occasional concert party performer (like his peer E.K. Nyame), a musical pioneer, and an inspiration to younger guitarists like Koo Nimo who sought to expand highlife "guitarism" into new territory. A full biography may be found online at GhanaWeb.
Akwantu Mu Nsem, however, is one of several unique albums released later in Onyina's career, in this case the late '70s. A more modern sound is featured here (with light synthesizer accompaniment), and Onyina is joined by several male & female singers who often take the forefront. This album is quickly becoming one of my favorites, mainly because these songs are just so strikingly beautiful and unique. Take a listen to the title track below and I'm sure you'll fall in love like I did.
Interesting history about Ghana's legendary African Brothers Band from leader Nana Kwame Ampadu's personal website:
"Since 1969, the African Brothers Band organized a yearly “Miss African Brothers Band Int.” which was very highly patronized. The criteria for the competition was not so stringent but was limited to females who were not above 25 years only. Any contestant who won was crowned Miss African Brothers Band for that year, won a cash prize and records of the band, and was also privileged to attend any of the band commercials or private functions free of charge. The 1st and 2nd runner-ups were also given befitting prizes. The contestants prepared themselves well, especially with hairdo, make-ups and dresses where some were proudly sponsored by designers. The competition was carried on for 9 years from 1969-1978."
I am rather fascinated by old-time highlife music featuring female singers, perhaps because these recordings are so difficult to come across. Female highlife singers in Ghana were largely marginalized through the first half of the 20th century due to social taboos and public perceptions of sexual promiscuity and impropriety. To quote concert party pioneer Bob Johnson, "A girl on stage would be branded a girl without morals." So, male actors took on the role of the female impersonator in the concert parties, while male "treble singers" strained to reach high, female-like vocal ranges. The few female singers who did make successful careers for themselves in the 1950s, '60s and '70s included Julie Okine, Charlotte Dada, Adwoa Badu, and Janet Osei, and these women surely faced some tremendous adversities.
Here we have a 7" single by "Highlife Sister no. 1" Vida Rose, released on the Gapophone label. According to John Collins, Rose was a guitarist in addition to being a singer, setting up her own concert party group in the late sixties. I've been intrigued by Rose since Voodoo Funk's "Big Mama Unice" mix back in 2007, and I humbly offer these two additional songs by the very cool Vida Rose.
