Music And Arts Scene
African Records Review
By Kwabena Asamoah
SUNNY ADE: 'Mo Dupe' (Gratitude); (SALPS 44)
'Ka Jo Mu Jo' 'Mo Bebe Fori' 'Jeki Ntegbe' 'Baba Ma Doju Timi'/'Jesu O Seun' 'Mo Dupe' 'Bona Gbogbo Badi' 'Orin Alleluyah'
The end of the Sunny Ade-Island Records contract is certainly not the end of Nigerian music in general and juju music in particular. Sunny Ade has indeed had some problems with his musicians but what is certain is that he has almost quickly assembled a new team to fight this difficult music 'war'. The African Beats has given way to the Golden Mercury of Africa.The most pronounced distinctive feature of Ade's new music is the prominence given to the keyboards as evidenced on the A-side, which has the feel of funk and juju. Though a non- stop medley, Ade skilfully changes the tunes (four of them) without much notice except the cluster of guitars which pound into the already intricate rhythms progressing from 'Ka Jo Mu Jo'. The vocal call and answer between Ade and the rest cultivates a neat relationship with the guitars even before the last track 'Baba Ma Doju Timi' ends off the A-side.
The tone of the B-side is set by the religious lyrics of 'Jesu O Seun' another steady pulse which utilises keyboards and talking drums. The Hawaiian guitar swims gently into the general fabric to achieve that cohesion which is associated with Sunny Ade's music.
'Mo Dupe' is characterised by beautiful guitar works and vocals while the swift instrumental changes halfway through the track colour the general facade of the music. The lyrics of 'Mo Dupe', 'Bona Gbogbo Badi' and 'Orin Alleluyah' appear to intermix to the uninitiated ear but therein lies Ade's musical message. The interlude of per- cussion and chanting will delight the majority of people.
Juju music is certainly alive on this album. Give it a try.
J.Y. THORTY & A.B. CRENTSIL: 'The Masters' (ABC 002)
'Ebebo Medin' 'Bone Nye' 'Worried A Times'/'Nyame Mmoa' 'Yesu Reba'
Fresh from the 'oven' is this new thing by drummer J.Y. Thorty and A.B. Crentsil, both of Sweet Talks fame and now pursuing solo careers. Crentsil's has been characterised by hit tunes dating from the Medican Lantics to Sweet Talks of Tema and a brief experience with Highlife Stars alongside with Eric Agyemang and Osibisa's Mac Tontoh and Teddy Osei.Those with their ears to the ground will remember Sweet Talks' 'Adam & Eve', 'Yewo Adze A Oye', 'Srekye Duku', 'Adjoa' and other controversial tunes. What some might overlook is that J.Y. Thorty played an important role during the Sweet Talks' days. As a deputy leader of the group, he also wrote and co-wrote some of the hit tunes. True to his own form, he has written all the songs on this album.
'The Masters' is neatly apportioned between dance floor hi-life on the A-side and the gospel on the B-side evoking the 'spirit' of the Sweet Talks. Beginning with what sounds like the best track on the album, Crentsil leads the group to recount the misunderstanding of the lover arising from apparently good advice. Half- way through this track - Ebebo Medin' Thorty's drums clash beautifully with the frenzy of percussion to clear time and space for the keyboards and vocal chorus.
Not only does Eric Agyemang remember Hugh Masekela's 'Grazing In The Grass' in 'Bone Nye' with his guitar works but also encourages his colleagues to infuse some Latin touches while the horns fade out. Check out the chorus - 'I call you to come and chop; I no call you to follow my wife.' 'Worried at Times' is another good hi-life tune which will stir a lot of interest on the dance floor with its smoothness and lyrics 'bankye kakro be my chop.' The no arrangement changes and the solos will change London's summer.
AFRO HOT CHART
1. KENYA Mbilia Bel (GENIDIA) Zaire2. ELECTRIC AFRICA Manu Dibangu (CELLULOID) Cameroon
3. OBI DOBA African Brothers (A.B.) Ghana
4. SOMO SOMO Somo Somo (STERNS) Zaire/UK
5. NA WA FOR YOU Hi-Life International (STERNS) Ghana
6. DOUBLE DOUBLE Nyboma (CELLULOID) Zaire
7. BEHYE ME MA New Life Gospel (PMA) Ghana
8. ENFANT BAMILEKE 4 Stars (SYLLART) Zaire
9. ARMY ARRANGEMENT Fela Anikulapo Kuti (CELLULOID) Nigeria
10. BINAM Andre-Marie Tala (ANDY'S) Cameroon
11. NDE YEN DA A.K. Yeboah (ASONA) Ghana
12. NEPA Tony Allen (EARTHWORKS) Nigeria
13. WAITING FOR THE RAIN Hugh Masekela (JIVE AFRICA) South Africa
14. BRE BRE NA EYE Atakora Manu (PMA) Ghana
15. OYE ODO Pat Thomas/Ebo Taylor (DAN) Ghana
Black Music Association
On Sunday the 14th of July at the Shaw Theatre, Euston Road, London, beginning at noon and ending at 5pm, some 550 representatives from the Black Music industry will take part in the founding conference of the BMA, BLACK MUSIC ASSOCIATION UK.Last June (1984) the GLC produced a report entitled "The black music and record industry in London". The report not only criticised discrimination in the industry but made many recom- mendations to help change the situation, one of which was for the formation of a trade association. People involved in black music wasted no time in planning how best this could be done.
The 550 representatives from the music business will discuss all areas, such as production, studios, rehearsal rooms, equipment, marketing, advertising, media, information access, publishing, distribution, and last but not least, finance.
The aim of the association is to provide a forum for the exchange of ideas and views of members, provide assistance in all areas of the music industry, carry out research and provide education and training for its members.
Those taking part in the conference and the workshops in the afternoon will include Alex Pascal from BBC radio, Gaspar Lawal (Nigerian master drummer, who is also on the steering committee), Jay Thakker from GLEB (and author of the GLC report), Jeff Morris of Camden race relations and Evie Arup, editor of Black Beat International. There will be a benefit concert in the evening following the conference.
