Music and Arts Scene
African Records Review
By Kwabena Asamoah
'Broken Heart' - Nkansah and Agyaaku
BROKEN HEART AGYAAKU/SMART NKANSAH & SUNSUM BAND: Broken Heart' (APOGEE BEBLOP 017) 'Broken Heart' 'Medofo '/'Sunsum Pe (Medley)'
After the sensational performances of Kwame Ampadu & African Brothers Band in London some months ago it is the turn of Sunsum Band (also from Ghana) to explode with sounds in London throughout next month as we reported in our last week issue (page 18). Though a name well received in Ghana, Sunsum Band is relatively unknown to British audiences, and it is for this reason that I would ask to break the (British?) convention of reviewing only current records by laying bare what's in 'Broken Heart'.The co-leaders (Agyaaku and Smart Nkansah) have musical experiences (almost frightening) that creep into the unique sounds of Sunsum Band as it comes out in 'Broken Heart'.
On each of the three tracks the group pursue the technique of varied arrangement for each of the songs. The lyrics are interesting and the vocal harmony coupled with the horn arrangements spell out good tempos.
Highlight of the album would generally be for the title track - Broken Heart which features the treble voice of Agyaaku (who matured through Yamoah's Guitar 'Band) impersonating Maame Ruth - Smart Nkansah's wife - to do a call-and answer love promise affair with Nkansah. It would have been as more natural as ex-Ike and Tina Turner if Maame Ruth took up the vocal challenge. The guitar followed by the horns introduces the listener to a mid-tempo instantly toe-tapping. The organ can hardly be heard, hence the rhythm role taken by Smart Nkansah's guitar. The percussion is well measured and synchronises with the theme of the song which made a hit in Ghana last Christmas. The organ again attempts a solo which would have been better if done in a chord form but Agyaaku salvages the situation by praying against the Brixton. thought of 'broken heart' arising out of dishonest love.
The lyrics in 'Sunsum Pe' (the spirit is willing) might sound a bit overdone but the music is not entirely flat. The guitar works and the horns provide the necessary humps. The horns arrangements do not marvellously succeed this time at the beginning of 'Medofo' (my love) but Nkansah's soft guitar repeating a nice rhythm at the background and Agyaaku's vocal turns infuse variety to the track which, to me, is the stand-out thing. The bass line is not lacking although it sounds overshadowed by the lead/rhythm guitar. Agyaaku pleads for forgiveness from the lover but does not need to apologise to listeners. Smart Nkansah imposes a lengthy but enjoyable guitar solo which closes the beautiful track.
On the whole, it sounds as if 'Broken Heart' has a central theme which should be well received, for it has the ingredients of good music. You may however, feel that Agyaaku's voice and Smart Ngansah's guitar dominate (though occasionally) the rest of the group. The album is an easy one to listen to and as a group Sunsum Band and Smart Nkansah's guitar dominate well enough to make 'Broken Heart' an album for your sampling.
The London dates and venues are as follows: 30 June, The Fridge, Brixton; 5 July, The Venue Victoria; 6 July, Mecca Empire Rooms, Tottenham Court Road; 7 July, Dougies Nite Club, Hackney; 13 July, 100 Club; 14 July, Gladsmore Community School; 20 and 21 July, Tropical Palace; 22 July, Battersea Arts Centre; 27 July, Africa Centre; 28 July, Mecca Empire Rooms, and 1 August at the Fridge,
PIERRE MOUTOUARI:
'Dans Tremblement De Terre (Retour A L'Envoyeur)' (ETS. PM PM0101) 'Telegramme' 'Bolingo Ebima Maseke'/'Ingoba' L'Envoyeur'. 'Retour A
It is said that in Africa rhumba and soukous are the domain of Zairean musicians but to differentiate them from their Congolese counterparts is most often a difficult process as this album would prove to listeners.If the Congolese copied their music out of their Zairean friends as claimed then they have really passed through good apprenticeship stage as Pierre Moutouari demonstrates. Using the female back-up singers. (S Nyamsy and L. Kangala) in 'Tele gramme', Moutouari achieves an acceptable vocal harmony that blends correctly with the rhythms and the persistent instruments fronted by the guitars. The beginning of the track typically apes a rhumba but does not take long before it swings into a near soukous that technically does not end well. They should chase the studio manager.
The guitar musically interrupted by short but punchy trumpets and sax set 'Bolingo Ebima Maseke' into danceability. The guitar licks provide a bridging gap between flatness and action. Moutouari's voice may not sound extraordinary but the chorus (male and female) which supports his own succeed in emasculating and defect (no! not a defect but a voice which may not otherwise necessarily help the track to sparkle).
The beginning of almost all the tracks are superb not excluding 'Ingoba' by way of the guitar and the vocal delivery interspaced by the horn arrangements. No sooner have you got time to digest the style that Moutouari bounces to a 'folklore (referred to in Ghana as 'agbadza') This particular rhythm is musicall compelling if well played as is done here. As Moutouari says 'music is our work' the guitars reinforce the rhythm and the concept of the music which is ably supported by the percussion and the strong bass line.
The drums take a leading role at the start of 'Retour A L'Envoyeur' in which Moutouari's voice comes out much better. The guitar solos reflect on the arrangement of a song that moves gradually from rhumba to soukous without much trouble.
On balance the arrangements on the album move progressively even though the guitars are not allowed much freedom to sound Congolese (or better still Zairean). As much as the music might sound Zairean there is a Congolese vibe.
