review1

To describe this compilation as “a labour of love” would seem trite and inadequate if you’ve read the account of the background to its genesis, written by compiler Duncan Brooker and published in the Guardian (27th July 2001 - possibly still available in the archive at www.guardian.co.uk). As the subtitle indicates, this album brings together eleven tracks from various African countries, acquired against the odds, frequently in very difficult circumstances. It’s here now and the inevitable question is “Was it all worth it?”. Well, from a fan’s point of view it most certainly is. There’s over an hour of hugely enjoyable and satisfyingly varied sounds, all from the 1970s, and all fitting well enough under the general rubric of the title, or one of its variants. These artists had absorbed the influences of soul, pop and rock, mixed them with indigenous music, and reflected them back out in sounds that had a character, a freshness and a power all of their own.

Dackin Dackino's “Yuda”, for example, shows clear signs of all sorts of influences, but in itself, it’s quite unlike anything I’ve heard before - 12 minutes of funky 2-chord workout and praise-singing, with driving percussion and instrumental fireworks. Mercury Dance Band come closest to very obvious influence, sticking fairly close to the Fela model, but while it's rougher in texture than the master's own work, that only gives it a raw power of its own. Jingo’s “Fever” reminds me a bit of Osibisa, while Steele Beauttah’s “Africa” evokes an echo of the Meters. To my mind, it’s of similar quality, but it was the latter who went on to international stardom, and the former who died in obscurity. One of the most captivating tracks is K.Frimpong’s “Kyenken Bi Adi M’awu”, which places haunting African guitar and vocals over a Latin-tinged rhythm. The nearest thing I can think of was the sound Orchestra Baobab captured in those 1982 sessions that were issued on World Circuit a few years back - beautiful music.

There’s more here, from the very American sound of Geraldo Pino to the almost ska-like rhythms of Nkansah and Yaanom. But no amount of description from me can substitute for listening. This terrific release should benefit from the recent upsurge of interest in Afrobeat that has seen the systematic release of many of Fela’s albums on CD, as well as Tony Allen’s and others. It deserves all the success it can get. Roll on Volumes 2 and 3.

R.T.


Various Artists: Afro-Rock Volume One - Kona CD001 To describe this compilation as “a labour of love” would seem trite and inadequate if you’ve read the account of the background to its genesis, written by compiler Duncan Brooker and published in the Guardian (27th July 2001 - possibly still available in the archive at www.guardian.co.uk). As the subtitle indicates, this album brings together eleven tracks from various African countries, acquired against the odds, frequently in very difficult circumstances. It’s here now and the inevitable question is “Was it all worth it?”. Well, from a fan’s point of view it most certainly is. There’s over an hour of hugely enjoyable and satisfyingly varied sounds, all from the 1970s, and all fitting well enough under the general rubric of the title, or one of its variants. These artists had absorbed the influences of soul, pop and rock, mixed them with indigenous music, and reflected them back out in sounds that had a character, a freshness and a power all of their own. Dackin Dackino's “Yuda”, for example, shows clear signs of all sorts of influences, but in itself, it’s quite unlike anything I’ve heard before - 12 minutes of funky 2-chord workout and praise-singing, with driving percussion and instrumental fireworks. Mercury Dance Band come closest to very obvious influence, sticking fairly close to the Fela model, but while it's rougher in texture than the master's own work, that only gives it a raw power of its own. Jingo’s “Fever” reminds me a bit of Osibisa, while Steele Beauttah’s “Africa” evokes an echo of the Meters. To my mind, it’s of similar quality, but it was the latter who went on to international stardom, and the former who died in obscurity. One of the most captivating tracks is K.Frimpong’s “Kyenken Bi Adi M’awu”, which places haunting African guitar and vocals over a Latin-tinged rhythm. The nearest thing I can think of was the sound Orchestra Baobab captured in those 1982 sessions that were issued on World Circuit a few years back - beautiful music. There’s more here, from the very American sound of Geraldo Pino to the almost ska-like rhythms of Nkansah and Yaanom. But no amount of description from me can substitute for listening. This terrific release should benefit from the recent upsurge of interest in Afrobeat that has seen the systematic release of many of Fela’s albums on CD, as well as Tony Allen’s and others. It deserves all the success it can get. Roll on Volumes 2 and 3. R.T.

	Afro-Rock Volume One A collection of rare and unreleased Afro-Beat quarried from across the Continent Kona CD001 (also available on vinyl, double album)


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