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mark albums that have inspired thousands whitefield recorded two new studio albums with taylor and toured in his band between 2009 and 2013 where he met taylor s son henry and percussionist singer eric owusu the trio now front the johnny band and find inspiration not only in ghana s hypnotic grooves but also the full frontal fuzz guitar assault heard on the legion of 70s zambian zamrock albums reissued by now again indeed whitefield credits his tours with zamrock godfathers rikki ililonga and witch s jagari chanda as instrumental in creating the johnny s sonic backdrop the band is rounded out by turkish drummer bernd oezsevim woima collective rodinia and indonesian bassist multi instrumentalist tomi simatupang whitefield brothers this is what was oft called afro rock at the core with the possibilities to stretch out into swinging highlife sweet soul or psychedelia the results point at a new direction for the music inspired by the great continent one that takes a direction once mocked as derivative and asserts its importance on the globe s current musical stage posted by mr follow follow 0 comments labels johnny sep 14 2021 los camaroes a journey into cameroonian music for its 3rd releases nubiphone is proud to present you a compilation of the best early 7inch releases of the mythical cameroonian band los camaroes 10 raw tracks taken from various singles from 1968 to 1975 that present the musical diversity played by those seven young people bikutsi afro funk jerk soukous rumba blues music the band led by the charismatic lead vocal messi martin that managed to modernized cameroonian music deluxe edition that includes an 8 pages booklet with exclusive pictures biography in both english and french languages posted by mr follow follow 0 comments labels los camaroes sep 3 2021 cameroon garage funk pt ii the globe trotting team over at analog africa are at it again delivering another beautifully crafted package that shines a light and some of the lost scenes of yesteryear after 15 years in the game you d think the label might be running out of rare gems to find but here we are clutching 16 tracks of cameroon garage funk which range from fuzzed out freakouts to hip shaking latin groove an esoteric endeavor even by this label s standards main man samy ben redjeb chanced upon this scene after time spent with the phenomenal orchestre poly rythmo de cotonou discussing their heyday and past sounds led ben redjeb to their old producer and in turn the premises of niger s national radio station for a little crate digging drawn to one shelf in particular he discovered a bunch of cameroon 45s nearly all bearing the mark of french music label sonafric thus began label head s sonafric safari a trip which saw him travel from douala to yaoundé via bamenda like some kind of vinyl obsessed dr jones finds were scarce as was any information and it s only now after hours interviewing various music figureheads that we get a snapshot of this underground scene that set 70s yaoundé alright with venues of the day hosting everything from soul nights to french yé yé it s no surprise that this compilation seems a bit more scrappy and scattershot than other releases but still filled with plenty of welcome surprises with the country at the time lacking any real recording industry or facilities getting your song out there to the masses was a real hustle in itself one often requiring the use of an adventist church and an open minded engineer what s left for history is a set of diy tracks which willed themselves into existence through pure determination and a level of energy that still reverberates today the likes of joseph kamga s sie tcheu fit the comp s title admirably boasting raw funk guitar organ solos and a bassline that refuses to quit yondja on the other hand proves a more afrocentric treat the western funk groundwork mixed with spidery piano work horns and percussion that s tighter than a diving bell the damas swing orchestra proves another winner the group using its short track runtime to deliver a nocturnal groove while sprinkling samples of crowd cheers over the top it s smooth a little jazzy and about 15 years ahead of its time more than anything the 16 numbers on show reveal what a melting pot the city s club scene was at the time french language numbers are belted out at times off key while artists with names like johnny black do their best james brown impersonation in recording rooms with just one mic once again this boutique label has moved mountains to give lovers of african music as well as musicologists a real treat it may just be a glimpse but damn does cameroon circa 1975 sound like a lot of fun clashmusic com the title of analog africa s latest compilation manages to give you a spot on idea of what you re going to get while simultaneously leading you astray it s that attributive noun in the middle really people have talked mistily about garage bands as a broad concept for maybe half a century now and it was by definition a thing of the past when the nuggets collection from 1972 threw the idea out there and in that time like basically every musical genre or grouping that ever took hold it s been appropriated misattributed and diluted until it s scarcely identifiable as i say that s the price of recognition not much point complaining about it 20 years ago when the very well heeled strokes very professionally recorded debut album was held up as an avatar of garage rock in the wider imagination it was kind of irksome for heads but no one died or anything the term has always been a dually functioning one as regards social signifiers in any event the idealised american garage bands of the 1960s played in the garage because they were kids who couldn t afford actual studios and because they came from middle class families with sufficiently equipped houses cameroon garage funk s sleevenotes though illuminating don t go into enough detail about the featured groups for us to make many conclusive statements about their backgrounds let alone whether their family homes had garages they do however describe a church in cameroon s capital yaoundé which had some basic studio gear and an employee willing to record bands on the downlow when the priests were elsewhere for a few years in the 1970s all but one of these songs were recorded in that decade this was the most viable way for the country s musicians to commit themselves to tape and accounts for the bulk of what analog africa s samy ben redjeb has selected here all done live into a single mic too and when i say you can often tell it s said with high admiration this music from before i was born on a continent i ve never visited buzzes raw enough to have me feeling like i was in the room shuffling clodhoppingly that s the nub of the garage mindset no this album like everything analog africa among many other archive labels releases is closely tied to the collector scene you can t very well not be if you want to do this properly redjeb a tunisian living in germany prefaces the various band profiles by recalling how he got into cameroonian digging actually finding the 45s comped here in niger benin and togo before entering the country in question most of them were released by a label called sonafric based in paris but specialising in pressing contemporary african sounds for a country that barely had a functioning music industry a decent amount of sides were cut in 70s cameroon manu dibango accrued a global profile at the time while being the proverbial iceberg s tip but they ve not been given retrospective attention like the output of other western african nations nigeria and ghana especially analog africa to their credit have bucked this trend before issuing the brief mid 70s discography of hamad kalkaba and a compilation of disco influenced makossa from the late 70s and early 80s makossa and the older bikutsi both rhythm forward native styles are germane to cameroon garage funk without featuring on it per se los camaroes are represented here by both sides of a 1973 single and had already built a rep as a versatile nightclub house band by then messi martin their guitarist has over time become synonymous with modern bikutsi here ma wde wa is a mild outlier more like soukous than the rockist abandon of many other acts featured here but with its sprightly melodies dusted in amp fuzz and afforded some bizarrely off drum fills you can see what redjeb heard so to speak b side esele mulema moam showcases their harder side though vocal yawping a la james brown who we ll return to meets with a rolling stock bassline and chicken scratch guitar a surf style guitar gives way to a wild perversion of latin jazz before being brought back again on charles lembe et son orchestra s quiero wapatcha a song actually dating from 1964 lembe died in 2019 aged 81 likely making him the most venerable musician featured here given that this compilation is otherwise laser focused on the following decade i m choosing to believe that redjeb included it for no other reason than it rips it s also available on another afro specialist compilation by honest jon s i daresay licensing this stuff properly is an arseache but also think it would have been preferable to give prospective buyers stuff they almost certainly didn t already own being more charitable there are some true obscurities featured here not only to latterday collectors but it seems cameroon scenesters of the era with redjeb s biographical hunting turning up squat damas swing orchestra s odylife has also been comped before on an africa airways set from a few years ago but the cameroon garage funk liner notes simply state no information with an implied shrug while not giving the impression of being intentionally mysterious they cultivate an eldritch atmos in their 140 seconds here a sample of a large cheering crowd is intermittently inserted into a tambourine shaking jazz shuffle whose title is uttered in haunted tones then there s this collection s other no info soz act jean pierre djeukam whose africa iyo opens with seven seconds of untethered perhaps malfunctioning electr on ics before the actual tune starts good gravy it s quick in fact if you can find a higher tempo afrofunk tune i ll be grateful for your valuable service is what a regrettably anonymous band chops riffs like the meters and honks jbs horns but with the foamy fervour of certain uk bands who were at the time of this 7 inch s release in 1978 just starting to make a meal out of punk and funk gang of four most prominently i link up these names in a spirit of celebration of how cool it is that people or groups of people can have highly similar flashes of inspiration while being unaware of each other s existence as with a lot of music that left a scant paper trail there s lots of fun to had trying to figure out who exactly inspired these performers with the bonus of it being almost as satisfying not to know andre destin ndenga was a saxophonist with the ability to pick up any other instrument and who incorporated a cuban influence into his music from the 1950s onwards that s evident on yondja recorded in the late 70s with les golden sounds the official ensemble of the cameroon presidency the story goes that ndenga was forcibly enlisted as bandleader although by this time he was looking to fela kuti for inspiration the rich array of percussion accounts for the first of those influences the fat sax riffs the second ngamba originally the b side of yondja incorporates a head turning synth break at 0 27 guitar melodies almost resembling chinese folk call and response vocals and sax playing as wildly jazzy as anything on this compilation another rocker working for the man was mballa bony who joined the army s orchestra in 1975 and released the mezik me mema 45 the following year later he would cross over to pop makossa ish electronic sounds but for now his wistful kindly sounding vocal is backed by almost highlife guitar and a sax break for the ages the booklet features bony s thoughts on the influence of james brown in the cameroon capital at the time there s no obvious attempt at a bite here unlike johnny black s mayi bo ya total godfather of soul worship for its first two minutes it then fires off in myriad afropsych directions a demonstration of this music s innate individuality even when the players are unabashedly trying to crib a style louis wasson et l orchestre kandem irenée s song of love too kicks off with deeply brownian motion wasson himself drilling a killer riff into the frame but a more chaotic arrangement thereafter than the old tyrant would have stood for i love you gasps the vocalist stirringly les souffrances a song written by johnny black about the tougher side of life in 70s cameroon and recorded by his friend tsanga dieudonne is close as we come here to straight afrobeat if there is such a thing though marking itself out by virtue of scorching proggy organ by dieudonne himself who also passed away in 2019 so high tempo danceable it would have prince andrew sweating like tony blair it apparently captured the national public imagination as did monde moderne by pierre didy tchakounte et les tulipes noires a paean to being a boy in a rock roll band late bedtimes and all its french lyrics lend it the rock gone wrong marvellousness of that nation s more offbeat vintage pop icons like jacques dutronc a second tchakounte cut ma fou fou is bone hard funk with a jazzworthy drum freakout the only thing stopping this being a smash in waiting among those original 45s only mod nights is the ruff fidelity meanwhile if your idea of what funk sounds like was mostly gleaned from watching vintage pornography the agile wah pedal wigging of willie song et les showmen s moni ngan is for you why did cameroon indeed much of africa adopt and reshape funk so enthusiastically redjeb in an interview last year suggested james brown had a really strong message which really impacted africa moreover when you talk to the musicians they tell me funk is very easy to them afrobeat is a bit more complicated because it s a whole orchestra you need brass and not every band has that i don t think there s anything more quintessentially cameroon garage funk that fulfils each word of its title most completely than sie tcheu by joseph kamga a minute long instrumental intro builds anticipation and though there s not actually a lot of vocal thereafter the lead guitarist presumably kamga himself dazzles with some hard blues riffs worthy of the most basement dwelling teen pimplies which again i naturally mean in a good way the organ solo when it hits is pure wavy gravy nuggets psych idealism the 1970s cameroon bandscape had its own specifics quirks and idiosyncrasies just like that of any country from any era and analog africa have ably captured this without going overboard there s no obvious reason short of national affiliation for someone to focus on its music which of course crosspollinated with that of its neighbours plus france l...