worldservice

A short post, to be followed by another one very soon. It is just that I have a craving for some solid vocals. And in that respect Mory Djeli 'Deen' Kouyaté will always deliver.

You may remember the cassettes and recordings of this star from Guinea I shared earlier (here and here). If so I am sure you also remember the weak spot in his cassettes: the accompagnement. And this cassette, which again appears to have been recorded in some Parisian studio, unfortunately has the same flaw.
Despite the arrangements by Jean-Philippe Rykiel, Mory Djeli again manages to survive all the attempts to drown him in 'la mayonnaise musicale' originating from the interventions of Rykiel.

Again, if you can mentally block out the superfluous synthesiser (and I know this is not easy!), this cassette is quite enjoyable. Mory Djeli is a great singer, but should - in my opinion - get rid of this Rykiel who is ruining perfectly good, classic songs like "Nanfoule" (yes another version), "Wara", "Moriba Kaba" (a notable victim of Rykiel destructive arrangements) and "Djeliya" (please don't compare this to Tata Bambo's version...).
What a voice....

CK 447

I can imagine that a lot of followers and fans of the music of Franco and his O.K. Jazz get confused about the chronology of this impressive oeuvre. Unfortunately the CD's that have been released in the decades since Franco's untimely death in 1989 have done little to take away this confusion.

I admit, it is not easy to retrieve this chronology. And this is especially difficult in the recordings of the second half of the 1960s. In this period Franco was releasing records through different labels. The main labels were Epanza Makita (which according to Gary Stewart means "the rain that disperses gatherings", which should be a reference to the effect the recordings would have on the competition) and Boma Bango (which simply means "kill them"). To complicate matters other orchestras, like Négro Succès (see for example this single) and Cercul Jazz, were also allowed to publish their songs via these labels.
And to add to the confusion, O.K. Jazz songs were also published through the Likembe, the Tcheza and the Ngoma label.

In a (perhaps futile) attempt to create a beginning of order, I would like to share with you the first four singles released on the Boma Bango label.

I hasten to add that almost all of these eight songs have been released on lp or CD (and in some cases more than once). And the quality of these releases is certainly better than that of these scratchy old singles from 1966*.

It is clear that the O.K. Jazz was in control of what tracks were to be released on what single. The first single on Boma Bango features two songs composed by Franco himself. Both songs (which have been perfectly reproduced on Sonodisc CD 36521) are in every aspect typical Franco songs. Side A, "Bondoki Na Boniama", a bolero dealing with witchcraft (bondoki) and bestiality or cruelty (boniama). And side B a rumba about a (to me, unknown) topical event in Congolese politics. Franco is emphatically present, vocally, jokingly, brilliantly laid back (side A) or aggressive and biting (side B) on guitar....

Boma Bango BB 1 (African 90.020) or BB 1

BB 2 is as typical of Vicky Longomba as BB 1 of Franco. This single featured on "L'Afrique Danse", the first lp on the African label**, with songs released in 1966. It was later somewhat confusingly added, almost as an afterthought, to Sonodisc CD 36588.
"Tonton" is a Vicky and an O.K. Jazz classic, and features, besides Vicky on lead, Michel Boyibanda on backing vocal. The B-side, "Quand le film est triste", is clearly a cover of a sentimental (lyrics!) French ballad. My guess is that Vicky had heard Sylvie Vartan's 1963 (or 1962?) version of this song. This in turn is credited by some to Georges Aber (France), John D. Loudermilk (US) and Lucien Morisse (France), or to Sylvie Vartan herself with lyrics by a Canadian singer called Michelle Richard, while others claim it is a copy of a 1961 song called "Sad movies make me cry" by Sue Thompson.

In any case, it seems very unlikely that - as the label claims - Vicky is the composer...
But both Vicky and Franco make the most of it (and I certainly prefer it to Ms. Vartan's version).

Note, by the way, the trumpet in "Quand le film..". Does anyone have a clue as to the identity of this musician?

Boma Bango BB 2 (African 90.008) or BB 2

The third of these singles features two songs composed by Michel Boyibanda. Both of these were digitised for Sonodisc CD 36533, although the A-side "Ata Na Yebi" was renamed to "Valenta Yoka" and the B-side "OK Asuanaka Te Mpo Na Muasi" lost the "muasi" (= woman). The second, a cha cha cha, can certainly be characterised as a typical Boyibanda tune, if only because he had - at the time at least - a certain reputation for singing Cuban songs. But I am personally more inclined to favour the first, a very delicate rumba, with a fine balance of voices and a superb support by Franco, which lift the song to another level. Notable too is the lovely understated sax, probably by Verckys, but very much in the style of that master of saxes, Isaac Musekiwa.

Boma Bango BB 3 or BB 3

The fourth and final of these four singles contains two songs attributed to Verckys. Side A, "Oh Madame De La Maison", has a history for getting misplaced. It was included on the lp Authenticité Vol.3 (African 360.072), a collection of songs released in 1963 and 1964 on the CEFA label, and subsequently in digital form on Sonodisc CD 36586, a rather incomprehensible collection of songs from different labels and years. Besides this, the track is also interesting musically, and more particularly vocally. As far as I can distinguish Mujos is singing with Michel Boyibanda, but both are singing the lead part (so no lead and backing roles). This lack of harmony leads to a very tight song, which helps to accentuate Franco's neat guitar playing. Verckys hovers in the background for a long time, but when he finally does move to the foreground he does not challenge Franco (as he does for example in "Course Au Pouvoir" and other later tracks on the Boma Bango label).
When I mentioned that both sides of this single are attributed to Verckys, I was referring to the B-side, "El Cuini". As far as I known this is a composition by Cuban legend Richard Egües and was made famous by his Orquesta Aragón (still going strong!). As with the other song which the O.K. Jazz borrowed from Aragón, "Chaleco", I am amazed at the idea of copying a song which relies heavily on the presence of a violin section and the flute of Egües. It must have taken quite a bit of inventiveness to 'translate' this to guitars and saxes, and just for this the O.K. Jazz deserve a credit. I particularly like the use of multiple saxes in this version, and I suppose this was Verckys' contribution.
A slight different form of inventiveness seems to have been applied to the lyrics, - but that just adds to the attraction of these songs....

Boma Bango BB 4 (African 90.023) or BB 4

The combined four singles can also be downloaded here.
And more Boma Bango tracks are on this lp I posted earlier.

* Although there are good reasons for preserving these vinyl treasures. Compare, for example, the tragically compressed "Tonton" of CD 36588 to the open sounding version of the single....
** On this lp you can also find BB 5, "Finga Mama Munu"/ "Revolver" both by Mujos.

The two singles I would like to share with you appear to be rather ordinary. But on closer study they are nothing of the sort.

The first of these was given to me in the late 1980s by a brother of my ex-wife. I suppose he felt sorry for me after I had lost a huge pile of records travelling from Bamako via Moscow with Aeroflot (a trauma that haunts me until this very day...). He gave me some singles, including a dramatically sanded down copy of "Whisky Magnin" by Amadou Balaké and this single by Orquesta Broadway.
To be honest the quality of these singles was such that I didn't really listen to them, and they were soon lost in my archive.

As often happens, they resurfaced after moving to our present home. But only recently have I been able to digitise the single by Broadway, and only then did I realise the 'rarity' of it. And I don't mean that the songs on the single are very rare or very special. They should be available either through some online service or through the album "Como Me Gusta". What makes this special is the combination of the B-side "Pa'Africa" with the place where this single was sold. For the single was bought - as can be seen on the back of the sleeve - in Ségou, Mali.

Several Malian musicians of the older generation have told me that Orquesta Broadway visited Mali in the early 1970s. I can find no record of this, only of their visits to Côte D'Ivoire (1973) and Senegal (1974) (more about their history here). But one way or another they had a huge impact on the Malian music scene. As far as I can ascertain these two songs were recorded before their visits to Africa, in 1972. This makes the insertions of the phrases in bambara even more remarkable. In perfect bambara after 1'44: "Let's go to Africa", and "let's go to sleep"(??). And this goes on till 2'24.

As mentioned before, the quality of the vinyl is poor, and if you prefer listening to a cleaner version you can find "Pa'Africa" here or you can buy the A-side "Como Me Gusta" and the album with the same title in several online stores.

SP 10046

The second single of this post was also bought in Africa; to be precise in Gagnoa, Côte D'Ivoire. Again it is by an orchestra that toured West-Africa, although almost a decade earlier. Cuban maestro Enrique Jorrín (wikipedia and a much more detailed biografia in spanish, which shows the intricate web of connections between a great number of Cuban legends) apparently was inspired by the music he heard to such an extent that he actually decided to interpret a song, "Sute Monebo", which he labelled "Folklore guineo".
I have personally never seen a version of this song on CD, - but given the enormous quantity of re-releases of Cuban classics it is possible that it does exist...

This song has had me digging deep in my archives to find an original. An original, which I am sure I have heard at some point in the past, but have been so far unable to retrieve. I have found versions by artists from neighbouring countries, like Ivorian Aïcha Koné (with her the title is "Soutemonebo") and by Malian Toumani Diabaté (Ketama), but these are from a much later date. Perhaps if you know of a version you can let us know. I'm almost certain that when I do find the missing original (or at least the older version I am sure I've heard), I'll go "oh, of course!".

The A-side of this single is very nice too. A simply superb version of that all-time classic and probably most interpreted song ever by Moisés Simons, "El Manicero". Together with the delightful B-side, a single well worth sharing.....

EPA-0011

This is a short post about yet another Malian legend who has passed away. Although a virtuoso ngoni and guitar player, Bouba Sacko was perhaps not so well known as others, like Djelimady Tounkara. His career, however, is at least as impressive. In Mali he was well known as an accompagnateur of Malian divas. He played with them all. Rising stars knew they could boost their career by calling in the help of Bouba. For being accompanied by Bouba Sacko almost was a guarantee for success. You can read more about his musical career in this article by Banning Eyre on the Afropop blog.

Bouba Sacko was less fortunate in his private life. I remember rumours went in the late 1990s that he had turned mad. Luckily he resurfaced and picked up his career. Just a few years ago, on October 11, 2008, his wife Djessira Koné, herself a jeli muso of great repute (certainly largely as a consequence of her marriage with Bouba), died. The loss - once more (according to some) - threw Bouba into a deep depression.
Even in death Bouba Sacko appears to be unlucky. According to reports he was quickly buried by the hospital after his demise. He didn't get the burial, with all the ceremonies which are a part of Malian culture, which he should have deserved given his status as vedette de la musique Malienne.

We have his music to remember him by. As an example I would like to share with you this video from the early 1990s. After seeing this I am sure you will recognise him again and again in all those wonderful Malian videos which can now be found on YouTube, - and particularly on Ngoni's great channel.

May he rest in peace.

P.S.: After uploading the video I saw that Ngoni too has uploaded a more recent version to his channel. I have the impression that the sound of my copy is slightly better, while perhaps the image of Ngoni's copy is better than mine. But I leave you to be the judge of this....

If you are living outside of the Netherlands you may be (blissfully) unaware of this, but we are experiencing stress. This Wednesday there will parliamentary elections, and things are heating up the last few days.
At least, in the media....

I'm not sure what your image is of this country, but until a decade ago the mere mention of my country of origin would in large parts of the world raise a smile, - or at least a grin. Apparently Holland was associated with a range of 'civil liberties' which were seen by many as desirable, if not - in some occasions - craved for. Besides these liberties we Dutch were praised for our tolerance, and particularly of other cultures.
I am sorry to have to report this, but we Dutch have thrown all this out of the window. Instead we have adopted the narrowmindedness (if not 'closedmindness') and xenophobia of which until recently we were prone to accuse other countries.

Politically this has gone hand in hand with parties with "freedom" somewhere in their name. And with these it is like mobile phones: a "smart" phone does not refer to what it gives, but what it takes away. Subsequent governments have over the last decade done little for many and a lot for few. Key word in this reverse Robin Hood campaign has been "The Economy". Numbers, statistics, predictions and self-proclaimed experts have conjured up an entity bigger and more powerful than any pagan idol in history.
And the 'few'? One only has to look at what has happened to those who left politics, - often under the pretense of withdrawing from the hectic rush of 'public life'. Cushy jobs with large accountancy firms, in international banking. Member of this board, or advisor to that. And not just one of these, but preferably a few ... nothing too arduous though.

I am sure this phenomenon is not limited to this country. In the age of networking the 'old boys' have found their niche. And what used to be blatantly "our thing" has now been cunningly relabelled to "economic necessity" and similar compelling catchwords.

With the help of the media the electorate is soporificated, sedated into accepting the choice between 'old boys A' and 'old boys B'. Brainwashed, the voters will again vote for the parties that will rescue The Economy, - and in doing so will continue relieving them of their liberties. It will take a few years for the voters to emerge from this state of amnesia, but when they do there will be new elections. And the cycle will begin again.....

As a tribute to the tolerant past of this country, I would like to share this album by the late (he died in 2008 - see this article and this wiki) Nigerian highlife star Orlando Owoh. The "Part II" would suggest a part one, but I have personally never seen it (but this discography assures me that it does exist).

Although I have to admit that Owoh's voice may lead to a state of soporification, in my experience this has only had a beneficial result. I would even go as far as to recommend this album as an acute remedy against any form of amnesia!

SOS 126

It is 23 years ago today that I, like many other mélomanes, was shocked to receive the news of Franco's death in Namur, Belgium. And in writing I am tempted to add "only". For in many ways it seems like no time at all has passed since the tragic day of October 12, 1989.

I am referring (once again) to the lack of progress in 'uncovering' Franco's legacy, in making available the treasures that so far have not been re-issued since their first (analog) release. Still the majority of the HMV/Loningisa catalogue remains hidden from the global audience, only a fraction of the Epanza Makita recordings have been reproduced, and less than half the wonderful tracks released on the Surboum OK and CEFA labels. And I could go on...

On this EP from 1964 alone there are - at least* - three songs that have so far escaped digitisation. Three songs which on their own would amply merit a release on CD. And not just for the fact that no less than two of the three are in the musical style which seems to fit Franco like a glove: the bolero.

The A-side contains two songs composed (and of course sung) by Vicky Longomba, while those on the B-side are composed by Franco lui-même. Needless to say that the two boleros are hot favourites on this record, with Franco at his dramatic best on guitar in Vicky's composition and addressing the Congolese/lingalaphone masses in the intriguing "Biloko Bihati Ntalona". This song is especially intriguing as it follows "On A Osé Le Dire", which can be translated (rather badly, I admit) as "They have dared to say it". Apparently the person who is being addressed in the song has been accused of using sorcery ("fétiches") against the singer, or rather the person represented by the singer. And the singer is gradually starting to believe that these rumours are true.

To add to the intrigue, I have the impression that "biloko" may refer to malignant dwarf-like creatures, which the Mongo people believe roam the dense forests and are considered to be the spirits of ancestors of the people living there, - according to this article in the wikipedia.

Perhaps someone who does understand lingala can help us out...?

Pathé EG 763

*I am not sure if "On A Osé Le Dire" has appeared on CD. I can't find it right now, but it is possible I have overlooked it...

While it appears my worst fears with regards to the outcome of the elections here in the Netherlands are slowly becoming reality, with both a continuation of the growing intolerance (of the kind which in the 1970s we used to call "repressive tolerance"), of the so-called 'joys & benefits' of privatisation and/or the deification of The Economy, it appears that elsewhere in the world people are facing even greater and more anti-human challenges.

I read a few days ago (here) that those so-called rebels in northern Mali are considering banning music. That certainly will help their cause and create acceptance with the local population.
Not.

How dumb can one get? In a country that has music, storytelling and rhythm in both its soil and in the blood of every single individual of its population!

So I think it is time for some serious countermeasures.

I will start off with a cunningly devious weapon, seemingly innocent but potentially lethal. A sweet looking woman, a girl even. Lovely smile, modest expression. But a voice like a dagger! Kankou Demba not only has a powerful voice, but matching lyrics. She has a strong social message and doesn't believe in sweet-talk.

"Don't stick your nose in my business, young bambara who doesn't work the land
don't interfere with my affairs for he who has no respect for his people is like a roaming dog
Don't stick your nose in my business, young blacksmith who doesn't fire up the forge
don't interfere with my affairs for he who does not respect his country is like a roaming dog
Don't stick your nose in my business, young Sarakolé who doesn't work as a trader
don't interfere with my affairs for he who has no respect for his people is like a roaming dog
Don't stick your nose in my business, young Peul who doesn't herd cattle on the land
don't interfere with my affairs for he who does not respect his country is like a roaming dog
Don't stick your nose in my business, young griot who doesn't play the guitar
don't interfere with my affairs for he who has no respect for his people is like a roaming dog"*,

sings Kankou in "I Dabo N'ga Kouma Na" ("You don't have the right to speak"). And with this she refers to a crucial concept in Malian culture and society: fasiya. I suppose this can best described as a mix of legacy, role in society and lineage. Perhaps not a concept which is very 'now' in western society, but one that has a tendency to be a essential element in the understanding of Malian culture. And of Malian griotisme, for that matter.

Kankou Demba's own lineage is apparent from her singing style. She follows in the footsteps of Fanta Damba and Koni Coumaré, with a definite Ségou bambara base.

I have had this great cassette for well over twenty years and it has not tired me. The conviction, the straight-from-the-heart honesty of Kankou's singing should, no must do something to start the process of corroding the iron resolve of those misguided 'fundamentalist rebels'.

SS-34 or SS-34

*translated from the translation (into french) by Cheikh M. Chérif Keïta in "Massa Makan Diabaté, Un Griot mandingue à la rencontre de l écriture".

As an intermission in my countermeasures, I would like to share with you some songs by one of my - in my opinion immortal - heroes of Congolese music: Léon Bukasa (see my earlier posts here and here).

Translation of the notes on the inner sleeve (on the right):
"Léon Bukasa, originating from Kasaï, as a young boy was enticed by the sound of a phonograph in a neighbouring village. Entranced by what he had just heard, he built a guitar with only three chords and started practising.

A year later, in 1950, he buys a real guitar and joins Editions Ngoma, where he soon makes his mark as a musician and a talented composer.

Among his numerous hit compositions are the Ngoma 78 rpm records: 1552 - 1657 - 1716 and 1778. These compositions were a huge success, both in the former Belgian Congo and in bordering countries, and especially the song "Congo ya biso basi bayebi kolata", meaning "In our Congo the women know how to dress (well)", - with the composer praising the elegance and the beauty of the congolese women.

Léon Bukasa also was the first singer to introduce into congolese music the usage of the clarinet, and subsequently, on the advice of Editions Ngoma, that of the double bass.

While getting better every day, he remains one of the top stars of congolese music."

The songs I am sharing with you are actually not from the EP of which I am adding prints of the sleeve. And to the four tracks mentioned on the sleeve I am adding two more, "Bakimi na mbongo" and "Sabine ndeko", to complete the series of three subsequent 78s from the Ngoma label.

My favourite, and an overall favourite in the whole of Congolese music (and that is a lot of fantastic music!), is "Mokengele Honoré", which from my biased (I admit it freely) point of view is one of the few songs that can compete on equal terms with those merveilles du passé of the O.K. Jazz on Loningisa. The other five songs follow closely behind, - but nevertheless behind.
All six tracks were composed by Bukasa himself and were originally released in 1961. As far as I know these were the last three 78s released by Bukasa on the Ngoma label (but I am still hoping I am horribly wrong...).

Ngoma 2160-2161-2162 (mp3) and (as long as it lasts) a flac-version.

PS 1:
Ngoma 1552 = "Na mokolo mwa lelo" / "Mwana mwasi Adolphine" by Bukasa and Albino Kalombo
Ngoma 1657 = "Congo ya biso basi bayebi kolata" / "Mantar mwasi kitoko" by Bukasa
Ngoma 1716 = "E! E! E! Se liwa" / "Nakumbuka kimanda wangu" by Bukasa and A. Luango"
Ngoma 1778 = "Clara Badimwene" / "Nalembi makango" by Bukasa and Papa Noel (Papa Noel's very first hit)

PS 2:
Note the two extracts from the Ngoma Super 45 catalogue which are on the back sleeve and on the back of the inner sleeve. Mouth watering!

A few updates on earlier posts.

You may remember those great videos by that majestic Malian diva Kandia Kouyaté (here, here and here). When I met her in Bamako last year Lucy Duran pointed out to me that it was unlikely, if not completely incorrect, that Kandia was 18 when these videos were recorded. I told her I was inclined to agree with her but was hesitant to correct this, as the 'grand dame' herself was the source of this information. She had told me this when I interviewed her in 1990 (photo - by the great Ton Verhees - on the right). Lucy has since reminded me in an email. She wrote: "Mali TV opened in 1983 and Kandia was born in 1958. I first met her in 1986 which is around the time that she did songs like Moussolou. Bouba Sacko only joined her group in 1985, before that she had a 12 string guitarist from Kita called Kissima Diabate who was living in Abidjan, and with whom she recorded Amary Daou présente Kandia Kouyate. So Actually Kandia will have been around 27 or 28 when she filmed those clips. The presenter was Zoumana Yoro Traoré and the programme was probably 'Artiste et sa musique'."

Then some updates from Guinea.
Graeme Counsel (website!!) is in Conakry at the moment continuing his work digitising and preserving the archives of the RTG. He has tumbled upon the original reel containing the first track of side B of that superb album "Boum à Conakry". According to the notes and label of the album this is a track called "El Checheré" by the Orchestre de la Paillote. It turns out that this information is incorrect. In fact the song is by l'Orchestre Honoré Coppet, and was recorded either on February 2 or March 24, 1963 at the Bonne Auberge by a certain Katty using a Nagra III reel-to-reel recorder! And this "Katty", Graeme adds, is probably Emmanuel Kathy, a director of the Voix de la Révolution studios.
Honoré Coppet was born in Martinique and traveled to Senegal and Guinea in the late 1950s. He played alto saxophone in the Syli Orchestre Nationale.

And yesterday he reported that he has found a reel containing recordings by that amazing accordeon player Petit Moussa (you may remember the mind boggling cassette sleeve). Apparently the man is called Moussa Diawara. Graeme has added a photo of this amazing find. Let's hope (or if you like you may pray) that these recordings are as spectacular as the ones on the cassette!

That's all for now. More music to follow soon.

Continuing my personal countermeasures against the against the lunatic proposal by those so-called islamic groups in northern Mali to ban music, I am bringing in the big guns. And when it comes to rock-hard Malian culture the guns don't get much bigger than Hawa Dramé.

You may remember my earlier post, plus the fantastic video featuring this great - but unfortunately also late - singer. If you have missed those, please do yourself a favour and at least watch those two videos.

The cassette I am sharing with you is one to digest slowly. Take your time. This is music which will last you a lifetime, and will be in your blood forever. As in the cassette I posted earlier, Hawa Dramé pulls out all the stops. The control she has over the 'accompagnement' is, again, brilliant. As is the control over her own vocal contribution. She can go full-out, but she can also subtly understate, - and in doing so move the coldest of those deepfrozen misguided souls in the north of her country .

There is not a weaker song in this collection.
You may recognise "So danso"; this was covered by Super Biton (see this post). "Demeba", with its majestically striding rhythm and Hawa's superb long phrasing. The meticulous "Diamandjo" where she is competing with the ngoni, twisting and turning. And "Mayebe Diyabo", just as intentional, with Hawa demonstrating the full dynamics of her unique voice.
Side B again has two longer songs. "Namabile" is one of those epic songs, which Hawa Dramé takes to another level. The same goes for "Niongomari" (covered by others, like Bazoumana Sissoko's daughter Tenignini Damba, as "Mariso"), although this unfortunately has a few wobbles.

SYL 8391

More countermeasures to follow...

*And in case you are wondering: this is a reference to the present date, plus a reference to what would be September 11 in countries like the USA. And in a way it is a reference to the excessive (verging in the ridiculous) coverage of first the impact of tropical storm Sandy on the eastern US (while the enormous damage of the hurricane Sandy on Cuba was covered in a single sentence!!) and then the painstakingly detailed and minute-to-minute coverage of the US presidential elections in this country (the Netherlands). Already Dutch media don't bother to convert 9-11 to the customary 11-9, so my guess is that in a few decades we will officially hand over sovereignty to 'our good friends on the other side of the Atlantic'.

A very short post.
I was really going to post something else.
But in bed with a nasty cold, sweating and feverish, I was haunted by this tune: "Mory", by Number One de Dakar.

The best cure for any disease: good music.

Eddy'Son 1156

On the brink of the festive season (or the end of the world) I think it is time for some seasonal music. And what could be more seasonal than four "rumbas corvées"?

What?

I admit I had never heard of that crazy rhythm called "rumba corvée" before listening to these four songs. And I am still not convinced I have now...
"Corvée" seems to indicate a certain level of exertion, of a type which may be getting more popular in these regions going by the rigorous measures proposed by our respective governments. I.e. unpaid! Do I see the shadows of slave labour and pre-industrial revolution labour conditions looming up through the mist of time?

Luckily these gloomy visions are not reflected in the music. On the contrary, the music is better typified by the name of the orchestra: Festival des Maquisards, where "maquisards" is about rebellion and resistance against oppression by the common people. That's more like it!

And it gets better.
For the star of this orchestra is a young Sam Mangwana, here still presented under the name of Sam Moreno. Co-leader of the group is another ex-member of Rochereau's African Fiesta 66 and a contemporary of Mangwana (also born in 1945): lead guitarist Paul Vangu better known as Guvano.

The first track features Mangwana in splendid form, with vocals clearly based on or inspired by his time alongside Rochereau. As in some of the songs with African Fiesta he demonstrates that he can compete with Rochereau on equal terms (within R's own singing style), while at the same time adding his own magical 'je ne sais quoi'. Sam has always had a 'real' quality in his singing, a quality which he shares with great singers like (for example) Josky Kiambukuta and Celia Cruz. No belcanto, no pretentiousness, very much 'de la rue'.

I'm not sure who is accompanying him in "Ligenda Obosani?", composed by himself. My first guess would be Lokombe (who at the time was called Camille Lokombe, but later became Lokombe Nkalulu), a very talented singer with a career lasting right on to this very day. In fact, if you are very quick you can see him performing with a former colleague from Les Maquisards, Dizzy Mandjeku, and his Odemba OK All Stars (also starring that superb singer Malage de Lugendo!) at the Tropentheater in Amsterdam this Saturday (December 15).
But alternatively it is possible that Diana Nsimba, also ex-African Fiesta, is backing Sam.

There is no doubt whatsoever about the second singer on the B-side. Ntesa Dalienst is very much present in this version of Celia Cruz's "Sopa en Botella". And for those who don't recognise his voice, he's the singer doing the 'chorus' starting at 1'15.

This song seems tailormade for Mangwana and Ntesa. Mangwana does the best impression of Celia Cruz I have ever heard, and Ntesa adds a subtle touch of sophistication. A sheer delight!

The second single, while significantly worse for wear when it comes to the physical state of the vinyl, delivers the same high musical standard. The A-side, "Catho Nakozonga", is composed and wonderfully sung by Lokombe, with Sam doing the backing vocals. The flipside is composed by a Gérard, and I am not sure who this is supposed to be. Ntesa once mentioned guitarist Gérard Biyéla, but as far as I know he was with Les Bantous, and I haven't heard his name in connection with Les Maquisards. I am not sure if this is the start of Mangwana's career as a polyglot, but if I am not mistaken this "Tabu Wangu" contains some lines in swahili.

It remains a mystery why these treasures have never been reissued.

Negro Festival NF 3503
Negro Festival NF 3507

Recently the owner of the (highly recommended) Malian Divas channel on YouTube asked me why I have never posted any music by the third (see below) of those magic Malian divas of the 1980s: Ami Koita.
I admit I did not have a good answer, apart from that I just haven't got round to her.

But perhaps there is another, subconscious reason for my omission. I have met Ami Koita, when she visited the Netherlands in 1991.

On the LolaRadio blog you can find recordings made during this trip by VPRO Radio (and a few days later she also performed in "Reiziger in de muziek" on VPRO TV).
Both Ami Koita and her daughter, who backed her mother in the chorus, were very friendly. But it was impossible to talk to Ami more than a minute as her husband (on the left, holding a camera with which he videoed his wife's every move) was constantly making his presence known. And not only by standing in the background, but also by answering questions for his wife and physically putting himself between his wife and whoever wanted to talk to her.

I later found out that this was the result of an extreme case of jealousy, and several rumours have gone 'round in Mali as to the (possible) grounds for this jealousy.
One way or another, this has perhaps played a role in my apprecation of Ms. Koita.

Getting back to her being the third: the other two of what was like the 'holy trinity' in Malian divaness in the 1980s were of course Kandia Kouyaté and Tata Bambo Kouyaté. And that reminds me that I should be digging up some more of those two in the near future.

Anyway, I would like to share with you this cassette recorded in the late 1970s. The quality of the cassette is dubious, to say the least. And I have tried to remove the extreme hiss*.
But I love the music. Ami Koita's rendition of the classic "Tara" is up there with the very best. And Nene Daou and Lassana Sacko have probably donated their life savings after being immortalised by Ami.

S4307 cassette or S4307 (speed adjusted - see below)

And as a further illustration of Ami Koita's talent I would like to share with you this first part of a programme entitled "L'Artiste et Sa Musique" featuring Ami Koita "& son ensemble". And this ensemble consists of two great accompagnateurs: Moriba Koita and Bouba Sacko (see my earlier post). The show is presented by Zoumana Yoro Traoré, whom you may remember from the videos I posted by Kandia Kouyaté and Coumba Sidibé. I will post the remaining part of this programme at a later date. Ami is interpreting "Djeliya", a kind of metadata song, a song about griotism. Compared to Tata Bambo's song with the same title, which I have posted four years ago, you will have to agree that Ami's song is more delicate. Both her interpretation and appearance do justice to her reputation as the djeli with finesse.

P.S.: More to follow before the end of the year....

EDIT December 30, 2012: Ngoni has pointed out (see comments) that there may be a problem with the speed of this cassette. I have slowed down the recording to the speed he suggests, and it does sound better. So I have added a link to the slower version.

* And in case there is any demand for the 'raw' sound of the untampered original, send me an email.

This post is about an artist who has - in retrospect - been relegated to the ranks of dated 'popular music' and 'entertainment'. But Louis Vera Da Fonseca, or just Fonseca, was up there with the Big Names, in his days.

The sleeve notes on this Dutch lp are almost ecstatic: "Fonseca is the son of a Senegalese mother while his father is from Cape Verde. Hence the Portugese sounding name: Louis Vera Da Fonseca. From his early youth the theatre, ballet and - especially - music have held an irresistable attraction for Fonseca. For his friends in the boy scouts he wrote and performed little sketches and in secondary school he with exceptional energy devoted himself to a variety of artistic activities. Armed with a letter of recommendation from Radio Dakar he travelled to Paris to continue his studies. He wrote a ballet titled "Black incantation". The opening night in the Casino in Deauville was attended by a score of celebrities. His Highness the Aga Khan was thrilled by the spectacle to such a degree that he, as an encouragement, presented Fonseca with the considerable sum of 500.000 french francs. Fonseca felt the credit shouldn't go to him alone and promptly shared the gift with all his colleagues. In August 1949 Fonseca made his first records. From this moment on matters accelerated. His songs are widely successful. His records fly over the counter in both Europe and Africa. His composition "Couri Couri" is chosen as the theme of the film "Les Héros Sont Fatigués". He tours the whole of Europe with his ensemble. Eighteen months go by before he returns to his home base in Paris. As it happens, just in time to cooperate in the film "Il Est Minuit Docteur Schweitzer". More and more films and contracts follow. Fonseca opens his own Club. And he makes "Sans Chemise Et Sans Pantalon" and "O El Cha Cha", which prove bestsellers. And so we arrive to his first Long Play record: 12 exciting tracks - nine composed by himself. A total of forty-one minutes and thirty-six seconds permeated with a sparkling temperament. A excellent sample of the musical capabilities of Fonseca Et Ses Anges Noirs!"

This may all sound very boy scouty to the modern cynical blog reader. But the paradigm of the perception may shift when one considers that the artists originally scheduled to perform at the Table Ronde in Brussels (the round table conference about the independence of the Belgian Congo) were nót Joseph Kabasélé and his African Jazz, but Fonseca with his Anges Noirs! Only at the last moment the Congolese delegation insisted on a Congolese alternative.

This sheds a different light on this lp, don't you agree?

Artone BRO S-1525 or BRO S-1525

A short post to finish the year in style. And what better way to round off a year* than with two records by Franco and the O.K. Jazz.

I assure you music does not get a lot better than this. These four tracks, composed by Franco himself and recorded on February 18, 1960 for Editions Loningisa, are among my absolute favourites, - and not just of the early work by Franco.
The songs stand out for several reasons. First the line-up is unique, with the departure of Vicky Longomba (first to join Kabasélé at the Table Ronde and then to start his own orchestra: Négro Succès). To replace him Mulamba Joseph a.k.a. Mujos had joined the O.K. Jazz and he is the Vicky-like voice in these songs. Isaac Musekiwa too had defected in July the year before, after Franco had been imprisoned for a traffic offence; he had joined Orchestre Vedette Jazz but returned to the O.K. Jazz at the end of 1961. He proved difficult to replace, and I am not sure who is playing the sax in these songs. The O.K. Jazz did engage others such as trumpet player Dominique Kuntima, better known as Willy (who is perhaps best known for his time with African Jazz and African Fiesta), and clarinetist Edo Lutula a.k.a. Edo Clari, and in 1961 Albino Kalombo (who had gathered fame alongside the great Léon Bukasa at Ngoma).
On guitar Franco was joined by Bombolo Léon a.k.a. Bholen, who had been recruited by Vicky, as had been singer Hubert 'Djeskin' Dihunga. Both were later persuaded by Vicky to join him at Négro Succès.

But the most impressive new recruits to the O.K. Jazz were two singers. First a singer of considerable repute: Gérard Madiata (whom you may remember from his songs with Kongo Jazz). He is the star of that immortal cha cha cha "Cuando Paradi", - and this while only singing backing vocal!
The second is Jean Munsi, better known as Kwamy or - in those days - Coimy. As Gérard Madiata in "Cuando Paradi" he adds that very special something to the equally immortal boléro "Caro Simon Mabanzo", even though he is not the lead singer. His velvet voice is the secret ingredient to one of Franco's most exciting boleros.

But star of these four tracks is of course Franco himself. In "Mobembo Ya Franco Na Wele" he is tiptoeing, in "Cuando Paradi" he is cheekily doing pirouettes. In "Mobali Asundoli Ngai Na Mwana" he is in charge and leading the orchestra, dictating breaks and turns. But "Caro Simon Mabanzo" sees the master in his natural environment: the boléro. He adds an extra dimension to the song, adding tension, joking, coaxing, provoking, in short: being Franco.
It doesn't get better than this........

Loningisa 267
Loningisa 268

For a limited period these tracks can also be downloaded in FLAC-format: Lon 267+268

I wish you all a very happy and successful 2013!

* or for those in more eastern time zones: to start the new year!

Among my resolutions for this new year is one which may prove to be somewhat challenging: for I intend to post more music from East Africa.
The challenge lies not so much in the music, but in 'peripheral' matters.

This post is a good example of this. For although I had copied the music, I had done so in a time when even a copy-shop (or any other facility where one could turn to to produce a photocopy) was a veritable rarity. In fact, it must have been around the time when this record was released. Luckily I recently received digital copies of the sleeve, so I can now share the record with you.

This post is also intended as an encouragement for the Tanzania Heritage Project (see their website), a project which aims to restore and preserve the archives at Radio Tanzania.
This video from their website gives a short introduction:

Compared to a similar project which involves the conservation of (a large part of) the archives of the RTG in Conakry, Guinea, and which is carried out by just one (1) person, i.e. my good friend Graeme Counsel, I am impressed by the size of the team. I hope this will be reflected in the results of the project, - which for now seem to focus largely on the project itself. But I remain optimistic......

In all the discussions about rights and 'infringements' an aspect seems to have been overlooked. When dealing with African music issues of rights (which in any case are mostly the rights of - often dubious - producers) are insignificant compared to the far, far larger issue of the irretrievable and absolute loss of enormous quantities of unique and irreproducable musical recordings.
You may have read my earlier posts where I 'moan' about the 'limitations' in the (digital) reproduction of Franco's impressive oeuvre. To be honest I have to add that these limitations are almost trivial compared to the reproduction of the works by others, like for example the Vijana Jazz Orchestra.
And I hasten to add that Stern's have just over a year ago released a very recommendable CD, which you can still obtain from their site.
Music by Vijana Jazz has also appeared on a few compilations, but I think we are still a long way from a structured and integral disclosure of their musical legacy.

When it comes to biographical information I was surprised to find there is even an entry in the wikipedia dedicated to this illustrious Tanzanian formation, which like others (see here and here) has its origins in a public (i.e. linked to the state) organisation.

I suppose this album can be seen as the peak of the career of the late singer Hemedi Maneti with two of his greatest hits: "Mary Maria" and "Tambiko la Pamba Moto". I love the wonderfully intrusive guitar (and matching bass!) and the great vocals, both the lead and the chorus.
If you ask me, both of these tracks don't only deserve a place in the Heritage of Tanzania, but should also at least be nominated for a place in the World Heritage List (and especially if you see what is actually on this list...).

AHDLP 6004

OFF-TOPIC: I have started a page on Facebook, where I will occasionally post links to 'matters of interest'. Don't expect any profundity though....

Actually I had planned to post some music by Thomas Mapfumo, but I am still trying to retrieve the title of one of the songs. So this will have to wait for a few days.

But it gives me an opportunity to share with you some more countermeasures in the struggle against the imminent oppression of the people of Mali.

It appears to me that matters have been complicated rather than resolved by the French decision to intervene. From a distance, it may seem like a good idea to send in the air force to bomb the sh*t out of those 'damn terrorists'. But will it work in a country the size of Mali? Anyone who has flown over Mali will agree that there are immense areas of 'much-of-the-same'. And attacking towns, villages and/or random groups of humans in the open field won't do much for French public relations, if you ask me. And I think the islamic rebels (and related insurgents¹) are not going to respond favourably to any French requests to stick around in one place, - and preferably away from populated areas...

It is not very hard to understand why the French have decided to 'come to the rescue'. As a former colonial power France has over the decades tried to keep some level of influence in its former colonies, with different degrees of success. Even in colonial times Mali was never at the center of French interest, and after independence Mali has done little to 'nurture' the ties. And French efforts to keep in touch have been half-hearted at best. Even before the fall of president Moussa Traoré in 1991 the French appeared to have given up on Mali, and since then others have stepped in, notably Chinese, Arabs and Libyans. These new friends proved to be more valuable and more effective than the French had been over all those seemingly countless years. The Arabs built hotels and a great bridge in the capital Bamako. The Chinese have set up projects to revive Malian agricultural capabilities². And the Libyans, or at least former president and 'our man' Muammar Gaddafi, they made themselves hugely popular by providing the (satellite) communication facilities that opened up the entire continent and can in a lot of ways be seen as the biggest revolution for ordinary Africans in the last century (if not in history..).

In the meantime too, it has become clear that Mali may have some economic possibilities. During French colonial rule the focus was mainly, if not exclusively on agriculture. The Office du Niger was set up to provide the French textile industry with raw material, - regardless of the effect the growing of cotton would have on the sparse arable soil. Since those days French governments have done little to ascertain the needs of Malians. In fact, subsequent French governments have done their utmost to retain a level of dependency of 'grand frère' France, particularly by the monetary system, while ignoring polite requests to really help out.

Personally I don't believe that altruistic motives play any part in the French attempts to intervene. Geo-political motives: yes. France wanting to restore its waning foothold in the African continent, after French pawns (like Houphouet-Boigny) in other former colonies have disappeared from the scene: yes. But 'coming to the rescue': nahhhh!

Please excuse my digression. I am awaiting reports 'from the frontline', but could not restrain myself any further. I have actually managed to control my urges slightly, as I haven't even started about the very dubious role of (who else but) the US in this issue.

Getting to the music I would like to share with you, you may ask what this music has to do with the present conflict. Well, this music is about the strenght and the resilience of the Malian people, and above of all of the women of Mali. During my visits to Mali I have experienced many many times that while the men talk, and claim to have the solution for all problems, the women are the ones that actually keep the country going. And I am sure that they will continue doing so come what may...
This resilience and this force of character can hardly be more apparent than with this singer, who already featured in an earlier post in this blog. For Ami Diarra not only had to overcome polio herself, but she managed to set her own handicap aside to help others.
This cassette is from the late 1980s or early 1990s, but I have heard that she is still active.

I am almost sure that the ensemble accompanying Ami is the same Ensemble Balemaya from Kayes as in the video, and it may even be that the recordings of the cassette and the video are the same.

SS 49

¹ More details on the conflict on the site of Al Jazeera.
² More about the Chinese in Mali in this article

I have followed Thomas Mapfumo since the mid-1980s. If I am not mistaken he and his band, The Blacks Unlimited, first performed in this country in 1984. In 1986 I saw him - and talked to him extensively - both in Angoulême, where he was performing at the Festival de Jazz et Musiques Métisses, and in Amsterdam. I may post parts of the concert (part of Oko Drammeh's legendary African Feeling series) at the Paradiso, Amsterdam, at a later date. The meetings with Thomas on both occasions were very memorable, for different reasons. But, as I wrote, I may come to those in a future post.

This post is actually of a concert 4 years later. Thomas and the band had not toured Europe for a few years. There had been some changes, particularly in the musical direction of the band. Reggae had been replaced by roots, Zimbabwean roots. Chartwell Dutiro, for example, was playing mbira instead of sax. In 1989 Mapfumo had released songs in which he criticised Mugabe, who two years earlier had abolished the office of prime-minister to become president. A song "Corruption" was even banned in Zimbabwe, and both Mapfumo and his band were targeted by circles around the presidency. The harassments finally led to Mapfumo leaving the country at the end of the 1990s. He now lives in the US.

In my opinion 1989 and 1990 were musically two of the most interesting years in Mapfumo's career. In 1989 he released the album "Varombo Kuvarombo", the ~~first~~ second (¹) on his own Chimurenga Music label (part of Gramma). This was reissued a year later by Mango Records as "Corruption", - and now with the (title) song which had been banned in Zimbabwe. Besides this it featured epic songs like "Moyo Wangu" (you may have seen the fantastic live version on YouTube).
The ~~second~~ third album, "Chamunorwa", was even more memorable, with six songs clearly inspired by Zimbabwean traditional mbira music.

These two albums formed the basis of the repertoire which Thomas used for his European tour of 1990. The songs I would like to share with you in this post are from his concert at the Melkweg in Amsterdam during the World Roots Festival (programme) on June 28. A few weeks later he performed at the African Music Festival in Delft, where I managed to talk to him for a short while in a very crowded dressing room. You can hear a short part of that interview after Aboubacar Siddikh's YouTube version of the Melkweg concert, - which by the way includes photos taken (by AS) during a concert a few years later.

The concert featured some remarkable versions of songs which had been recently released on lp. The concert started with fantastic instrumental versions of the - now - classic "Chitima Nditakure" and "Hwahwa".
You may recognise the guitarist as Ashton "Sugar" Chiweshe, who is the star of those videos on Youtube I mentioned above. I particularly like his version of "Nyoka Musango"; his guitar adds a unique twist to this version. "Moyo Wangu" however falls short of the video version.
Remarkable too is the vocal version of "Chitima Nditakure", which unfortunately breaks off. I don't remember if Thomas saved the lyrics for a later part of the song which was not recorded. In any case, the result is certainly a strange version of the song, almost 'dub' like...

The next song (the first on the B-side of the cassette) is again an instrumental; this time a version of "Chamunorwa". This is followed by a song which I have so far been unable to trace. I have gone through my whole collection of Mukanya masterpieces, but have not been able to find another version of this song. An astonishing minimalistic, purely traditional song, - with Thomas dancing and digging deep to evoke the spirits.... I advise you to listen to this a few times; it will grow on you.

The following "Handina Munyama" (from "Varombo Kuvarombo"/"Corruption") was obviously meant to balance the mood. It does so and levels things out for two new songs, which were - certainly in the Netherlands - only available on record the next year. Both "Dangu-Rangu" and "Svere-Ngoma" were released on Mapfumo's third album on Chimurenga Music: "Chimurenga Master Piece" (TML 103). The songs are based on traditionals, but - as Thomas would stress during the interview in August - with the modern mixed in.
Unfortunately of the last song only the first few seconds have been recorded.

Thomas Mapfumo and The Blacks Unlimited at the World Roots Festival (Melkweg, Amsterdam / June 28, 1990)

As a bonus I am adding this energetic video (clip) of the song "Vanhu Vatema" (1993), recorded from Zimbabwean television a year later. The images are clearly taken from the videos I posted earlier, but the editing of this clip is quite good.

EDIT January 19, 2013: The mystery track (track 9) has been identified as "Shanje". No wonder I couldn't find it, as it has only been released on one of the few albums I do not have ("Chimurenga Varieties" - TML 106), - and 4 years after this concert.
Furthermore track 8 is an instrumental version of "Muchadura", which also was released on "Varombo Kuvarombo"/"Corruption". Both Aboubacar Siddikh and myself were torn between "Chamunorwa" and "Muchadura"; and all things considered it could have been either.....
I have corrected this and have re-uploaded the songs.

(¹): correction: the first was "Zimbabwe-Mozambique" (TML 100) in 1988.

Usually I am not a great fan of these 'topical' records. My father used to have several of these, with subjects ranging from the first moon landing to the pope's visit to Ireland (recently posted on the Lola Vandaag blog). He had a very special way of boring the pants of visitors...
I must stress that I don't include songs about topical subjects in this category. I am particularly excluding all those great calypsos (either from Trinidad or from West Africa) about the Queen's visit or a local scandal, songs about a strike of lorry drivers, shipping accidents and other assorted disasters. In fact, I wish they would reinstate this tradition. We could have songs about Italian politics ("Bunga Bunga Benga"), about hurricanes ("The Sandy Shuffle"), scandals ("The Zagreb Conspiracy") and footballing incidents ("Christiano's header").

This said, I would also like to add this lp. And not so much because of the subject, the eighth African Nations Cup (Cameroon, 1972). Football matches tend to have a very limited 'shelf life'. I have recorded countless 'historic' matches, thinking they would make for a great evening in front of the telly after a tiring day at work. But I must admit that it just doesn't work like this. Football ('soccer' to you Yanks) is very much an on the spot event. The fiery emotions 'while events unfold' just can't be warmed up to be consumed later...
What really makes this record special is not the music of Manu Dibango. While recognising his importance for music in general I have never been a fan of his music, to be very honest. In fact, the music in this record is of the kind that I would gladly do without.

What does make this record special is the inclusions of the 'live' commentaries from the different participating countries. The commentary styles are varied, from the staccato of Boevi Lawson (Radio Togo), via the very disciplined and rather eloquent Malians Boubacar Kante and Salif Diarra (who even sportingly congratulates the opponents after his country loses the final), to the controlled but outrageous Joseph Gabio (Congo-Brazza). Joseph does not shun insults, both of players of his own country's team - when they 'allow' their Zairean neighbours to score a goal - and of a "cursed" Cameroonian player (also called Joseph) who misses in front of the Congolese goal. And I just love the over-the-top enthousiasm of the two Cameroonian reporters, with one of them announcing: "Ladies and gentlemen, the Cameroon boys are doing it!".
Which brings me to what is perhaps a challenge in the enjoyment of this record: apart from these few exclamations it is all in french.

Watching the CAN 2013 I have often thought of this record, and of the enthousiasm of the commentators. Unfortunately the lukewarm and misplaced arrogance of the European reporters tends to act as a real turnoff, even with the most spectacular matches.

African 360.036

In case you are wondering about the fall in the frequency of the posting on this blog, I have recently purchased a new second-hand VHS recorder, and have been messing about with the digitisation of video-cassettes. I hope and intend to share the fruits of these efforts (which are in an exploratory phase right now) at a later moment.

In the meantime here is a short interludum.

With this record by Ry-Co Jazz I get the same uneasy feeling I had when I first heard the CD on the RetroAfric label (Retro10CD, 1996). In fact even slightly more so than that CD. It's not that I don't like the CD; there are quite a few rather nice songs on it. And there is the added pleasure of Gary Stewart's informative liner notes (which is a thing that is missing from a lot, if not most, Congolese albums...). It is just that there is a certain akwardness about it, which I for a long time credited to the Parisian influence. I saw a comparison with the recordings of Kabasele with the African Team, and the feeling of missed opportunities I often get when listening to those records.

But now, many years later, I suspect bad timing may have something to do with my uneasiness. This single is a good example of this. Both sides feature a cover of a song originally recorded by the O.K. Jazz. The A-side is a cover of Dele Pedro's "Tu Bois Beaucoup" (which is also on the CD, by the way), which even within the repertoire of the O.K. Jazz is not a typical song. The appeal of the song is one of a gimmicky type. Musically it is not one of the highlights of Congolese music of the early 1960s. In the version of Ry-Co Jazz the gimmick is watered-down, and the result falls absolutely short of the mark.

The B-side is a cover of Franco's 1960 classic "Liwa Ya Wech". This song has been covered by artists in several countries. I have even heard a Guinean version (and I don't mean the version by Miriam Makeba). In a way this is surprising as this is a very personal song, about the death of a personal friend of Franco. If you ask me the personal touch and even intimacy of the original is completely flattened by this version, even it is sung by Essous, an ex-member of the O.K. Jazz. Although I am not averse to organs, the one on this single does not lift me off the floor and definitely sounds very dated, very late 1960s.
All in all I don't feel all that Ry-Co after listening to these two songs....

DEBS 45 DD 159

PS: Who is this "Mawa"?

More mayonnaise

Kill them

Cubafrican

Bouba

Amnesia

23 Years

Dog

More Bukasa

Some updates

911*

Haunted

Sopa

Finesse

Boy scout

Paradi

Pamba moto

Resilient

Chimurenga master

Topical

¿Qué Ry-Co?