When I heard Sasha was going to record an album of rancheras I really did not know what to expect. She does not possess the booming voice of most singers of this genre. But that's ok. Sasha's never had much of a voice to brag about. But that's what I like about her. The honesty, the emotion that she evokes, the simpleness. Right off the bat one will notice the obvious influence of say Chavela Vargas. Don't dismiss this as a knock off. Sasha has taken traditional rancheras and stripped them down to their barest musical elements while adding to them jazz and even flamenco (influenced probaby by her new residence in Madrid). I admire her for baring her soul as an artist and taking the biggest risk of her career. This album is at times dark, moody, but aren't a lot of rancheras? Sasha congrats on an amazing artistic achievment. I just hope the US will be exposed to this album as well. Also note that the Mexican edition of this CD (due in August) will differ slightly to this Spanish edition (tracklisting mainly). If you can get your hands on this you will not be dissapointed.

by Joseph Valenzuela "milwaukee sister"
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Tracklist :
1 Por Un Amor
2 Te Solté La Rienda
3 El Crucifijo De Piedra
4 Arrastrando La Cobija
5 La Cucaracha
6 De Los Pies Hasta La Frente
7 Ella
8 En La Borrachera
9 El Gustito
10 La Noche De Mi Mal
11 Paloma Negra
12 Cuando Sale La Luna

Este grupo de Sabadell, al igual que muchos grupos de los que han aparecido por estos lares, se caracteriza por la riqueza y la cantidad de registros musicales que incluye su música, entre los que se encuentran la rumba catalana, el flamenco, la música latina, el funk, la bossa-nova ó el jazz, lo que nos garantiza un continuo espectáculo lleno de sabor, ritmo y fiesta dentro y fuera de los escenarios, es decir, arte pa’ jartarte.

Después de varios años de conciertos y de asentamiento del grupo, este año lanzan su primera maqueta llamada ‘Despertares’, grabada en los estudios ‘La Butxaca’ de Sabadell. Compuesta por cinco temas que representan las vivencias de la banda, este trabajo hará las delicias de los aficionados a esta fusión de músicas.

Actualmente, Samuel eLe Rumba está formada por 9 integrantes: Yolanda (voz), Helios (guitarra), Luis (bajo), Marc y Pol (percusión), Oriol (batería), Oleguer (flauta travesera), Junior (teclado) y David (técnico de sonido).

by http://liberandomusica.blogspot.com
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Tracklist :
01 Tangos de afrodita
02 Mi vida
03 Buleriosa
04 La brocha
05 Noches de verano

Whereas the last twenty years have seen a colossal amount of research carried out into all forms of black American traditional and popular music, the equivalent developments in Africa, often reflecting and drawing from these cultures, has largely been overlooked.  The music of Africa is as diverse and as complex as the continent itself.  In addition to the countless forms of native tribal music, many fascinating musicals hybrids have developed as a result of foreign influence - American, British, Latin, Arabic and Cuban amongst these.

The two most popular forms of West African popular music are currently High Life and Juju.  Broadly speaking, and I must stress this, High Life is essentially Ghanaian in origin, favouring driving brass sections while Nigerian Juju music is more reflective and heavily features the guitar.  An easy, though not entirely satisfactory, comparison would be between R&B/Soul (High Life) and Blues (Juju).

The development of Juju as a recognisable form also closely resembles that of the Blues from a rural background (the field holler and country dance tune) to a modern brash popular form (the music to be heard in a South Chicago bar).  Juju is based on the centuries old traditional music of the Yoruba - choral singing and complex percussion - and was brought from the Nigerian countryside to the towns of Lagos and Ibadan by migrant workers in the Twenties and Thirties.  Here the guitar lead was assimilated, often Western influenced, and, as cheap imports became available, progressively amplified.  As with the Blues, Juju is essentially dance music however the vocals are far less radical or rebellious, normally extolling the virtues of traditional Yoruba values and achievements.

Although not the founder of Juju, I K Dairo MBE was an important and influential exponent of the music and a top selling African recording artist of the sixties.  This article is a portion of a slim volume 'Songs of I K Dairo MBE' delightfully written by Benson Corporo Okagbare, printed by the Nigerian National Press and published in 1969.


Isaiah Kehinde Dairo, a humble, gentle and a very polite man who today is and who forever may be holding the hegemony of the Juju empire was born in 1930 at Offa in Northern Nigeria.  ikdairo1.jpg - 15.5 KThis genius who brought Yoruba's indigenous Juju to nation-wide recognition attended the CMS School at Offa for only two years after which financial strains forced him out.  In company of his retiring father who served the Nigerian Railway Corporation as a carpenter for many years, he left Offa for Ijebu-Ijesha - his hometown.  The year was 1937.

Shortly before they were to leave Offa something remarkable happened: the father drawing on his carpentry skill made a drum for young Dairo.  Little could it be guessed that such a gift summarised his whole mission on earth.  Isaiah was so fond of this drum that he would not part with it - early in the morning, at meal time, going to fetch water or doing any other thing his drum was beside him.

At Ijebu-Ijesha, he became a barber after some months of training.  When he was not busy at barbing, he was on his drum so much that his father was alarmed.  At evenings he would go and watch his predecessors of Juju music at play.  These were Orioke, Oladele Oro and Mike - all of whom were then based at Ijebu-Ijesha.  From the knowledge I K gained from his father as a carpenter, he made drum after drum for himself.  Not long after, he succeeded in gathering some boys to make up a band.  One Taiye Igese was the captain.  This was in 1942.  The band soon broke up .

Dairo who afterwards was to become the most popular of Nigerian musicians, went to Ede as an Osomalo - a pedestrian cloth seller from one locality to the other.  He did this for four years after which he became a road worker for six months.  When he saw that pays were not regular, he became a labourer clearing cocoa farms at Oko Apara near Oshogbo.  At Oshogbo I K heard rumours about the construction of the Queen's College, Ede and of the Ede Water Supply Scheme.  Soon after, he was at Ede working in these undertakings under Cappa and D'alberto.  Wages then ranged from l/9d to 2s daily.  Kehinde made a little of savings at Ede and with this he came to Ibadan.  At Ibadan, he again worked with Cappa and D'alberto who were then busy on the University of Ibadan.  This was the place where I K experienced the greatest hardship.  He carried blocks upon blocks on his bare head so much that these shove a ring on this head.  He was, however, relieved of this heavy labour when he was made a carpenter.  Pays there were within the range of l/9d and 2/3d daily.  I K indeed did much of labourer work to earn a living: to free himself from the fetters of inherited poverty.  What an encouragement to some of us!  If Isaiah had not inherited wealth, and if he had none thrown to him, he was bent on achieving one.  And this he has done.

Kehinde did not at any time leave his drum behind.  At day, he did his manual labour; at night he played with Ojoge Daniel - a Juju musician based at Ibadan.  Ojoge soon stopped him and I K sought fresh avenues.  Jobless he roamed for some time until advised by one Enoch to work with Hausa labourers in producing gravels for road.  In those days labourer work was much valued and before one was taken he must have, at least, seen the foreman - to offer some sort of bribe.  This was probably the only certificate required for entry.

Having wandered so long, I K felt homesick.  Twelve years had elapsed since he left home and he had yet nothing.  So with only a sixpence a guitar and carpentry tools, he reached his place of birth.  With nothing but confidence, he formed his first band.  The year: 1957.  They were all ten.  The band went by the name Morning Star Orchestra.  They were invited to marriage ceremonies, burials, etc.  to play.  Fame attended this group and in 1961 they were to compete with some other Juju bands at the WNBS/TV.  I K won of the 16 artistes invited.  The new name of Blue Spot is also traceable to this time.  Of the many that I K could remember connected with this name are one European 'Black Lench', MacGregor, Adebo, Olu Falomo and Kunle Olasope.  I K thanks all of them.

I K has played in various foreign countries.  He has played in England and he represented Nigeria at the Negro Arts Festival held in Dakar in 1965.

I K Dairo was the first African Musician to be honoured with the title of Member of the British Empire (MBE).  He has won this owing to his originality and the improvement he gave to the Juju Music - an improvement, an innovation, which can hardly be forestalled by any living artiste.  ikdairo3.jpg - 17.0 KHe introduced the talking drum into Juju, he introduced the accordion and made the guitar an essential part in Juju music.  The father of Juju is as old as the Yoruba race but the father of modern juju is I K Dairo.  This is particularly seen in the number of Juju musicians that have sprung up following closely the footprints of I K Dairo.  Some, which are also admirable, have been striving to reach I K Dairo's record.  In this bid they have not only imitated I K's brand of music, they have gone the whole length to copying his exact words and ideas.  They add slight changes to effect disguise.

The ship of the Blue Spot hit a huge cataract on the 23rd day of February, 1968 after a long laborious journey for eleven years.  The nine people with whom I K Dairo started in 1957 left on this date.  The nine could not advance any reason why they decided to leave.  On their departure, I K gave to them the van they were formerly using, and also placed at their disposal all the playing instruments which he bought for them.  The nine have long formed a band that operates here in Lagos.  I K has since made up a new Band which is indeed superior to the former.  His later songs Ekun Rere and Baba Nigbati nba sako lo state this vividly.

The Yorubas are famous for their enjoyment of life.  They therefore have a variety of music: they have the Juju, the Sakara, Bembe, Were, Pankeke, the Apala and many others.  Each of these has its origin from one or a combination of the dialects.  Juju comes from Ondo Province, Ijebu is very much associated with Apala and Sakara Pankeke is famous in and around Ilorin, etc.  The Juju through I K Dairo has been the only one which has won not only national attention, but also international recognition.  Haruna Ishola has put the Apala on a line of fame too.  It is currently attracting audience from non-Yorubas.  He is particularly famous in Dahomey where the Ajase people prefer his records in their radio request programmes .

I K has a character trait which is peculiar to him; he does not like to be interrupted when he talks and if you interrupt he will go on talking without a break in the line of thought .  This peculiar character trait is much to his advantage.  In any hotel, whenever he is playing and Bacchus is at work, people go very close to him. Some even go to the extent of entering on the stage to talk to him. All these do not disturb I K.  In certain cases when the crowd - particularly girls, in miniskirts crowd on him while playing, he will close his eyes to avoid distraction; he prefers the audience far from the playing stage.  I K is one of the greatest admirers of beauty; he has a great likeness for girls but he loves them and admires them as he would his sisters.  This is another candle placed on a candlestick.  I believe others will see light.

"The girls I sing of are not my girlfriends or lovers.  In certain cases I pick up certain names and sing of them.  Most of the characters are fictitious I am currently composing a song on Sunbo - I know nobody of such a name.  I sing of girls and of 'love' because these are, in face essential factors in our lives.  They are necessary compliments to whatever we are 'Love' is indeed one of the essential ingredients of music and love songs are most appealing to all and sundry.  I therefore sing them merely to give satisfaction to the people whom I am happy to see satisfied.  I have carefully avoided flooding the market with such songs as they are most likely to encourage immorality".  I K then concluded that if a musician was to retain his glory long he must abstain.

I K is a Christian and he belongs to the Aladura sect (Seraphim and Cherubim).  He and his family have chosen to serve the Lord.  All along with his music, I K Dairo observes his religious duties.  ikdairo2.jpg - 14.0 KSome of his songs are religious some are taken from song books and are adapted to the rhythm of the juju music.  The tone and the language of the psalmist are detectable in some of his songs.  He is a preacher and a reformer through the medium of record.

One of the reasons why I K s records sell like hot cakes is that they are full of prayer and good counsel.  Any sane man will prefer good statements of prayer and advice to those of meaningless collection of sound - or less so, of curse, abuse, sorrow or regrets.

It is necessary at this point to state that most of I K's 80 songs are in two or three parts.  Sometimes these parts are related sometimes they are not.  Any listener to a record of I K will note that beats change after certain intervals.  When these happen it is usually another song within the same record.  This is a good device for eliminating monotony from his songs.  This system is being employed by all musicians irrespective of brand.  It is the same thing outside the Yoruba World.  English songs are not like this.  For a record there is only a theme.  Monotony is broken by instrumental interludes and the song resumed - it is never another song as in the case of Nigerian songs.

I K is no factionist.  He is not politically inclined.  He sings of people in different parties.  He sings of Kola Balogun, of Chief Awolow, of Late Major-General Ironsi and of Major General Gowon.  He is more of an objective commentator on current Nigerian Affairs.  He is no tribalist nor a stooge of any power.  His songs in Urhobo, Hausa, Edo, Akan and in some other languages are living witnesses to this.  I K sticks tenaciously to conviction.

He is a true embodiment of public opinion.

by Benson Corporo Okagbare
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Tracklist :
1 Taxi driver
2 Iku ye lori mi
3 Baba dami lare
4 Allau mo soli
5 Ijo olomo
6 Okan mi yo ninu oluwa
7 Bebe yi ga
8 Eri moha iye mi
9 Oluwa a da
10 Okan mi yin oba orun
11 Oju momi si pere ode
12 Baba mi gba nba sako

Perhaps the easiest way to understand the differences between the Real World and Earthworks labels is to understand the differences between socialism and populism.

The Real World label, as formed and popularized by Peter Gabriel, features recordings from assorted artists around the world. Listening to most such recordings, the phrase which might most easily enter the mind of the listener is "cultural displays". That is to say, the "art" frequently seems quite deliberate -- and, if not quite Westernized, nevertheless somewhat removed from street-level scene in the musician's place of origin. Some exceptions obviously exist, but the albums released in this series tend to have the same ethos about them as do government-funded art projects in North America.

From my perspective -- admittedly somewhat removed from the cultures in question -- the Earthworks label is a bit different. One frequently gets the impression, listening to these records, that the music would not be out of place in the casual venues of such cultures. In cruder terms, this might be more in line with the sort of music that profit-based corporations use for their day-to-day business (though, given the economies of scale in many Third World nations, the practical impact of this assessment is probably rather limited).

This reviewer will not take a side my favouring one side over another -- both have their place in the greater musical economy, and both promote forms of musical expression which the other is not likely to touch upon. Nevertheless, this distinction may be of some importance in understanding the impetus behind works on these labels.

One frequent characteristic of populism is a misleading "front" or "cover" for the substance of the entire thing. This is certainly the case with Thunder Before Dawn (a.k.a. The Indestructible Beat Of Soweto Vol. 2). The front cover of this release shows a group of South African tribesmen in a ritual dance, with one prominent figure in mid-air and possibly about to jab two spears into the ground before him. This cover suggests that the music on the release will be traditional tribal fare. As per the above description, this is not quite the case -- rather, the music seems more appropriate for a tavern or club atmosphere ... or perhaps even a specialized radio format.

That aside, this album does yield some interesting discoveries about black South African music in the dying days of apartheid (for the uninitiated, that is). Perhaps my greatest surprise, listening to the work, was the predominance of Hammond organ chops in the musical setting -- the vocal harmonies, rhythmic guitar lines and non-standard beats were all somewhat predictable; the Hammonds were extremely less so. I'm quite curious as to whether this was typical of most South African music at the time, or whether this sample is simply misleading. One way or the other, though, this certainly won't interfere with a progressive fan's take on the entire affair.

(Of course, given the ethnic distinctions within black South Africa, it may be inappropriate to make any blanket statements about the music of the area as based solely on this release. Although the musicians featured herein are from a variety of ethnic backgrounds, all songs except one are sung in Zulu.)

In terms of song "form", the first track -- by vocal trio Amaswazi Emvelo and singer Simon "Mahlathini" Nkabinde -- is fairly typical of what one might expect of pop music of this sort. Thankfully, though, it's quite good in terms of content (not to mention rather catchy). The Hammond lick at the beginning gets this off on a fairly strong note, and there's nothing to fault the musicians for on this number -- the bass solo, in particular, is pretty good. The focal element of the song, however, would be the vocal harmonies; not too aggressive in their melodic style, they fit the tone of the quite well. In short, this is good pop music (and it grows on the listener with successive hearings as well).

Mahlathini Nezintombi Zomgqashiyo (hereafter "MNZ") is described in the liner notes as a mbaqanga (ie. "township") supergroup, featuring the aforementioned Mahlathini, the original Mahotella Queens, the Makgona Tsohle Band, and guitar/composer Marks Mankwane. "Thuto Ke Senotlolo" (the only song on the album sung in Sotho), features extremely deep lead vocals (presumably by Mahlathini) which are impressive enough to grant the song a fairly high rating on their own -- and, on top of that, we also have more Hammond organ coolness throughout the number. About the only problem with this track is the ill-considered "call and answer" vocal form -- the Mahotella Queens wear on the nerves somewhat, after a while (those familiar with Pink Floyd's backing vocalists should get the idea).

Dilika are cited as a Zulu-guitar group led by David Mtshali, and the introductory Tomorrow-esque guitar line would seem to verify his dominance in the group. This is a nice, infectious number which isn't terribly hindered by the fact that the drums sound somewhat canned. The guitar is the high point of this song, of course; the vocals, though good enough, aren't really superhuman. Still, we're easily three for three, so far.

Abafakasi (featuring Osiaz Ntsele on vocals) then follow with "Wakwami", perhaps the most immediately memorable vocal line on the album. The Hammond chops which begin the track seem quite proggy in this particular instance (believe it or not), and the bass line throughout the verse is quite nice as well. This group is apparently known for its saxophone performances, one of which makes a good enough appearance in mid-song. This track might seriously confuse some progressive fans, but it shouldn't disappoint them.

Johnson Mkhalali, according to Trevor Herman's liner notes, is a "prominent accordian jive specialist" (one wonders if accordion fans in this part of the world engage in Mkhalali/Rossy debates). "Sunshine Boots", the track featured here, some JM's skills in the foreground, with some nice guitar flavouring as well. This is clearly good stuff, though a tad repetitive.

Jozi, another zulu-guitar group led by Moses Mchunu, provide the first true masterwork of the album with "Phumani Endlini". The drums sound rather canned here as well, but that's hardly the point -- the acoustic guitar and amazingly urgent vocal delivery are strong, strong points in this song's favour. The harmonious bass sound is pretty damned good as well, as are the vocal harmonies (I have no idea what the spoken word bit is actually communicating, but it sounds fairly impressive nonetheless ... actually, the lack of information about the actual songs is another distinction between this label and Real World).

From here, we go back to MNZ, and their "Kwa Volondiya". The airy guitar lines and heavy bass performances go well with Mahlathini's deep voice (but where's the Hammond?). This is probably a more developed number than the previous MNZ track, though the unfortunate problem of the backing vocalists is common to both. The guitar soloing between the verses is rather impressive.

As this stage, the Makgona Tsohle Band step out on their own with "Vula Bops", a shuffle-driven number that's probably about as good as "good-time" music can be. ;) The prominent horn delivery over this danceable number might draw a few similarities to Louis Armstrong in terms of "musicality which prevails in spite of restraint", though the content of the track is something rather different. One way or the other, though, this is a thoroughly enjoyable number.

And, following this, it's time for Amaswazi Emvelo to step out of their own. "Jabula Mfana" features some good electric soloing at the beginning, and a drum line which is fairly interesting in spite of its apparently canned nature (some sudden shifts make it worthwhile). The vocals are, obviously, the lead element once again, and are notable for a strong element of chaos therein (the complexity of the arrangement is fairly impressive in its own terms). A guitar solo follows afterwards; the entire track seems somewhat longish.

How ironic is it that "Siwuhambile Umhlaba", by Amaswazi Emvelo & Mahlathini, sounds quite similar to the Talking Heads? This is a somewhat more poppish number than some other tracks here, with the deep vocals and guitar lines appearing as expected. The vocal arrangement, once again, is quite impressive here; moreover, this track actually improves by virtue of its length and use of repetition.

The third and final MNZ track is, unfortunately, the least impressive number here. This is something of a ballad, and not completely removed from the stigma which is normally associated with that term; the fact that this is also the only track sung by a female lead vocalist may be proof that some demographic arranging is cross-cultural. The instrumental elements of the song are proficient enough, and the vocals themselves aren't terribly obnoxious ... but, really, this just isn't that great of a song. Rather, this is one of the few occasions in which Thunder Before Dawn seems rather ... well ... ordinary.

Thankfully, the next song is something completely different, and easily the most bizarre thing on this album. If there is a such thing as "mbaqanga psychedelia", I would suggest that Malombo should probably be regarded as the godheads of the movement. A rather minimal guitar presence (vaguely akin to "Sweet Jane") sets the musical tension, and a rather odd (and somewhat undermixed) vocal line might easily make the listener wonder if this wasn't improvised ... late one night ... at the tail-end of a lengthy festivity. The sheer sonic arrangement of the entire thing dominates over any single element of musical performance (which isn't a bad thing, of course). This track alone might be enough to recommend the album for fans of bizarre musics.

Thankfully, though, there are other tracks to impress listeners with adventurous tastes. There may be better albums of this sort of there, but this one shouldn't disappoint.

The Christopher Currie
(review originally posted to alt.music.yes on 30 Jun 1998)
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Tracklist :
1 Amaswazi Emvelo and Mahlathini - Utshwala begazati
2 Mahlathini Nezintombi Zomgqashiyo - Thuto ke senotlolo
3 Dilika - Amazimuzimu
4 Abafakasi - Wakwami
5 Johnson Mkhalali - Sunsine boots
6 Jozi - Phumani endlini
7 Mahlathini Nezintombi Zomgqashiyo - Kwa volondiya
8 Makgona Tshole Band - Vula bops
9 Amaswazi Emvelo - Jabula mfana
10 Amaswazi Emvelo and Mahlathini - Siwuhambile umhlaba
11 Mahlathini Nezintombi Zomgqashiyo - Ngasebenza ngedwa
12 Malombo - Motshile

Another genius set from Soundway, purveyors of no-nonsense global Afro-diasporic music, this time opening the book on champeta, a popular form for blacks in Cartagena and Barranquilla, cities that lie on the Carribean coast of Colombia. While most know Colombia for cumbia  and its many permutations, head compiler Lucas Da Silva, boss of his own Palenque imprint, follows the development of champeta’s beginnings in the '70s, when local musicians took to Fela Kuti’s Afrobeat and began to integrate the Black President’s rhythmic sensibility and interlocking guitar parts into their local styles, which already took in soukous, calypso, zouk, and compas.

If you have a copy of the Fela tribute album Black Man’s Cry from earlier this year, you’ll be familiar with Lisandro Mesa’s “Shacalao,” one of a handful of covers of Kuti’s “Shakara” and an early example of champeta. Then, as it is now, it was the soundtrack blasted by sound systems in the rougher parts of town, but what you get here are the raw goods before modern production techniques slicked things up.

Volume 2, please? Or how about a trawl through other untapped Colombian forms like fandango and puya next? There have been a few Colombian comps put out lately, but we’ve barely scratched the surface, folks. Soundway, bring it on!

by Soundscapes
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Tracklist :
1. Manuel Alvarez y Sus Dangers – Esclavo Moderno
2. Cassimbas Negras – Bumburumbumbum
3. Abelardo Carbonó y su Conjunto – Palenque
4. Son Palenque – Tungalala (El Sapo)
5. Cumbia Siglo XX – Naga Pedale
6. Wganda Kenya – Pim Pom
7. Banda Los Hijos de La Niña Luz – Dejala Corre
8. Pedro Beltran – Puyalo Ahi
9. Cumbia Moderna De Soledad– Tetero
10. Abelardo Carbonó y su Conjunto – Quiero a Mi Gente
11. Lisandro Meza y su Conjunto – Shacalao
12. Son Palenque – Palengue Palengue
13. Abelardo Carbanó – La Negra Kulengue
14. La Tromba – Calaba Calabao
15. Los Soneros de Gamero – Katunga
16. Rabel Y su Grupo – Manaye
17. La Nelda Pina – El Sucusu
18. Wganda Kenya – El Lobo
19. Son Palenque – Dame Un Trago
20. Grupo Palma Africana – La Botellita
21. Wganda Kenya – Yoro