CD Review: Rocky Dawuni's 'Branches Of The Same Tree'

Rocky Dawuni
Branches Of The Same Tree
Cumbancha

Ghanaian-native and LA-based, Rocky Dawuni brings a rousing mix of Afro-roots and reggae-based grooves to the forefront on Branches Of The Same Tree. The English vocals and great backup vocalizations make the songs very lively. However, the drums, bass, guitar, and keyboards played in a staccato pattern is the real prize here. "Black Star" features edgier guest vocals from Samini. There is even some electric guitar sounds that fuse a little rock n roll to the reggae beat. The pleasant and island-friendly tune, "Island Girl," is more of an acoustic song with earthy ukulele and catchy melodies. Of course, fans of Bob Marley will be enamored, as well as contemporary listeners of reggae music. This is jah-st a beautiful album! ~ Matthew Forss

CD Review: Selasee & Fafa Family's 'Time For Peace'

Selasee & Fafa Family
Time For Peace
Self-Release

Born in Ghana, Selasee & Fafa Family, create whirling rhythms of heady funk and reggae beats with a fusion of Bob Marley, Alpha Blondy, and Caribbean melodies that possess a pop background in a contemporary and somewhat urban setting. The music of West Africa is influenced by reggae music, but it is not as globally-prevalent as Afro-pop or blues music. The soulful vocals, bouncy drums, fluid bass, gritty guitars, sax and trumpet sounds, keyboard washes, and strings create a magnificent musical medley rich in history and highlife sensibilities, which grow out of the reggae and soul domain. Whatever it is called; it is something that should be shared with everyone you know as soon as possible. These African melodies and sounds are unparalleled. For a truly great musical journey, please make Time For Peace a staple in your listening library. ~ Matthew Forss

CD Review: Afla Sackey & Afrik Bawantu's 'Life On The Street'

Afla Sackey & Afrik Bawantu
Life On The Street
Ghetto Lounge

The UK-based Afro-funk band, Afla Sackey & Afrik Bawantu, brings us a heavy, African-inspired mix of catchy beats, groovy melodies, and hot rhythms ripe with African spirit and charisma on their latest release, Life On The Street. The eight-track release combines funky rhythms rich with jazzy textures and horn-driven melodies throughout. Led by Ghanaian singer, songwriter, composer, and master percussionist, Afla Sackey, Life On The Street is an excellent example of tribal melodies and global beats coming together in happy unison. The vocal parts are in a Ghanaian language of Ga, while at other times, English rules the tracks. However, the album contains more instrumental segments over vocal medleys. Anyone familiar with contemporary Afro-funk and classic music styles from the 1960's and 1970's will appreciate Afla Sackey & Afrik Bawantu's musical madness. ~ Matthew Forss

CD Review: King Ayisoba's 'Wicked Leaders'

King Ayisoba
Wicked Leaders
Makkum Records

Born in Ghana, King Ayisoba is an accomplished kologo player and vocalist. The kologo is a two-stringed lute with a very organic sound somewhat aligned with a n'goni. The ten-track release features a few guest artists, including Ayuune Sulley, Solomon Abusoro, Zea, Mbo, Banasko, and Isaac. Besides the kologo, the music incorporates other indigenous instruments, including the sinyaka, gulugo drum, doo (horn), xylophone, dondo drum, and djembe drum. The rhythmic vocals and diverse instrumentation produces an entrancing result that is akin to gnawa music. The scintillating kologo is plaintive, energetic, and emotive--all on the same recording. Some of the vocals are similar to some of the Mongolian and Siberian utterances, but that is where the similarities end. This is a distinctly African release that is refreshing and contemporary. Fans of Ghanaian music, North African tunes, and percussion instruments will love Wicked Leaders. ~ Matthew Forss

CD Review: Zongo Junction's 'No Discount'

Zongo Junction
No Discount
Electric Cowbell Records

The Brooklyn-based, Afro-beat maestros, Zongo Junction, brings us a moving piece of history with Ghanaian-infused, instrumental tunes in the shadows of Fela Kuti and others. The funky, psychedelic tracks are danceable and emotive with bubbling keys, punchy sax, and diverse instrumentation in a jazzy setting. The writhing sounds are Afro-beat grooves at their finest. The sax frenzy on “A Van That Got Away,” proves why Zongo Junction makes the best Afro-beat music in America. The down-tempo electronica of “Longtooth,” showcases their diverse talent of Afro-beat, jazz, experimental, funk, and pop. The entire album is an instrumental journey, which is very likable throughout. There are even some Balkan jazz or Klezmer moments on "Invented History." At any rate, No Discount is an engaging, Afro-beat pleasure that will be enjoyed by everyone that fancies music of the African kind. ~ Matthew Forss 

CD Review: Blitz The Ambassador's 'Afropolitan Dreams'

Blitz The Ambassador
Afropolitan Dreams
Embassy Mvmt

The Ghanaian-born rapper based in New York, Blitz The Ambassador, combines Afro-pop melodies, rap vocals, and refreshing Afro-soul sound that echoes beats of decades ago. The vocal king incorporates a few guest musicians fill in already great tracks. For example, Angelique Kidjo, Nneka, Sarkodie, Marcelo D2, Seun Kuti, Amma Whatt, and many other artists are represented. The album is a continuation of the journey to America with all of the trials and tribulations that accompany the struggle to establish oneself in a new land. The twelve tracks are unique, easy to understand, and incorporate a plethora of African, American, and rap fusion styles. The melodies and rhythms are very catchy, poignant, and meaningful. The music is more than rap or hip hop, since the melodies are somewhat drawn out, which provides a more Afro-pop, funk, and soul concoction. Check out Afropolitan Dreams while you can. ~ Matthew Forss

CD Review: Sierra Leone's Refugee All Stars' 'Libation'

Sierra Leone's Refugee All Stars
Libation
Cumbancha

Sierra Leone's ambassadors for everything good and happy bring us another exciting and catchy Afro-pop release. Libation is a celebration of life with twelve tracks of deliciousness. The reggae-tinged, "Can't Make Me Lonely," "It's So Sorry," and the incredibly catchy "Treat You Right." Other tracks take on a more Congolese rhythm pattern, such as "Gbaenyama," "Ghana Baby," "Maria," "Money No Do," and "Min Do Sin Tay." "Manjalagi" possesses a cumbia-type beat with African lyrics and a steady, danceable rhythm that is unforgettable. The upbeat, contemporary, and Afro-beat melodies are outstanding without any deficiencies. The sweet riffs and glorious, rippling guitar chords signify a pan-African presence that draws upon Spanish, Portuguese, and Caribbean influences. Overall, Sierra Leone's Refugee All Stars mark a new year with their best album to date. This music is best served with some chilled palm wine! ~ Matthew Forss

CD Review: Alma Afrobeat Ensemble's 'Life No Get Dublicate'

Alma Afrobeat Ensemble
Life No Get Dublicate
Slow Walk Music

Following the previous release, Toubab Soul (Amphora Records, 2010), Alma Afrobeat Ensemble continue in their multicultural and cross-genre creative work of music that combines heady rhythms with contemporary vocals and mixed percussion, urban, and guitar styles. Nothing is simplified here, as the music is complex and deeply-rooted in the musics of Africa, Europe, and Latin America. The six-track release contains pulsating sounds of jazz, funk, Latin, and world fusion. The rippling guitars and fuzzy percussion awaken the spirit amidst the smooth bass lines and punchy brass. Based in Barcelona, Spain, the group members hail from other parts of the world, including Norway, Senegal, USA, Uruguay, Argentina, and Ghana. For a true world music listening experience, put Life No Get Dublicate on and hit repeat over and over again. ~ Matthew Forss

CD Review: Various Artists' 'Afrobeat Airways 2: Return Flight To Ghana 1974-1983'

Various Artists
Afrobeat Airways 2: Return Flight To Ghana 1974-1983
Analog Africa

Ghanaian funk and dance music is explored on Analog Africa's latest venture, Afrobeat Airways 2: Return Flight To Ghana 1974-1983. These are thirteen rare funk tracks that showcase the not-so-common musicians of the country. You will hear rare music from K. Frimpong, Nana Ampedu, Gyedu-Blay Ambolley, Ebo Taylor, Rob, Uppers International, Los Issufu And His Moslems, Waza Afrika 76, and others. The music is psychedelic, funky, dance-laden, and organically-rhythmic. The percussion is very enthralling throughout. The vocals are equally impressive with solo and group vocals used intermittently. The instrumental sections are especially intriguing and addictive. The rhythms and melodies are punchy and swirling with African elements and entrancing infusions of sound. Anyone with an interest in African funk and psych music should check out Afrobeat Airways 2..., as well as other recordings on the label. Your feet and ears will thank you. ~ Matthew Forss 

CD Review: 1987 Talking Drums' Reissue For 'Some Day Catch Some Day Down'

Talking Drums
Some Day Catch Some Day Down
Innova

Originally released in 1987, Talking Drums' Some Day Catch Some Day Down is a rhythmic romp into Ghana's Afro-beat legacy with lively horns, immense percussion, rippling guitars, and great vocal harmonies. About a dozen musicians comprised the 1987 group, which provided various instrumental accompaniment, including the more popularly-known congas, sax, flute, bass, keyboards, guitar, timbales, bells, flugelhorn, and trumpet. However, there are numerous Ghanaian and West African percussion instruments used throughout the recording that are too numerous to mention. At any rate, the result is Afro-beat heaven with lively vocals. There are liner notes for each song, too. In addition, this is an enhanced CD, which provides nine MP3 bonus tracks after placement in a computer. These are groovy grooves with upbeat percussion and happy vocals. ~ Matthew Forss

CD Review: Kwame Afrovibes' 'Let's Go'

Kwame Afrovibes
Let's Go
Self-Release

Afrobeat from Spain via Ghana? Yes. Kwame Adzraku is the lead singer and instrumentalist with the band Kwame Afrovibes. On Let's Go, Kwame plays drums, maracas, sticks, piano, guitars, shekeres, hammond B3, keyboard, rhodes, tambourine, and other instruments. As a vocalist, Kwame can be compared with Fela Kuti, but the tracks are sung in English, Ewe, Spanish, Accran, and Ashanti. The African languages are represented throughout. Guest musicians play djembe, synth, sax, steel drum, kalimba, and cabaza for another layer of percussion and texture. The funky, psychedelic ramblings are upbeat, danceable, and groovy. There is a high-level of musicianship that is not seen in many other recordings today. Anyone with an interest in West African jazz, makossa, soukous, pop, and rock will love the intricate renderings of Kwame Afrovibes. ~ Matthew Forss

CD Review: Edzayawa's 'Projection One'

Edzayawa
Projection One
Soundway

The Ghanaian funk of the 1970's is captured brilliantly on Edzayawa's first and only LP. The newly release CD and LP versions showcase a heady, contemporary mix of funk 'n' roll music with a nice vocal range throughout. The eight long tracks incorporate rhythms and styles from Ghana and Togo, which infuse less rock elements than other regional music. However, Edzayawa knows how to kick in the beats with rousing percussion and groovy bass lines. The psychedelic elements of reverberating B3's and steady, but languid guitar stylings, signify a great range of musical enjoyment. Despite the few tracks, the music is top-notch and a vital release for any funk, Ghana, Nigeria, Togo, and West African guitar fans infatuated with 1970's Africa. Step back in time with our friends, Edzayawa! ~ Matthew Forss

CD Review: The Funk Ark's 'High Noon'

The Funk Ark
High Noon
ESL Music

The Funk Ark is a plethora of funky, mood-driven, heady tunes that feature the funkiest music this side of Africa. In fact, the group is based in Washington, D.C.--not exactly Ghana. Nevertheless, the groovy, fun, and danceable rhythms are primarily influenced by the highlife, free jazz, and afro-rock music of the 1970s. High Noon features the sax, organ, trumpet, bass, percussion, and limited vocals. The music of Chopteeth and Fela Kuti come to mind. However, this is an album for a new generation of African music. Despite its Western title and cover imagery, High Noon is a product that carries the traditions of West Africa. High Noon is great for any part of day. ~ Matthew Forss

CD Review: Atongo Zimba's 'Sankune Sounds'

Atongo Zimba
Sankune Sounds
Sankune Sounds

Atongo Zimba is from Ghana, but based in the U.K. Sankune Sounds highlights Atongo's talented vocal and instrumental skills. For instance, Atongo is a master of the molo--a two-stringed lute common throughout the Sahara. Though Ghana is known for highlife music, Atongo creates a music that is rhythmic, powerful, and sweet that does possess funk, jazz, and highlife qualities. On "Sela woo san boma tanna bia" the vocals sound similar to Zimbabwe's Oliver Mtukudzi. Atongo is joined by rhythmic guitar, flute, gombe bass drum, backing vocals, and assorted percussion that livens the Ghanaian musical spirit immensely. The lo-frill recording is perfect for those palm wine parties and relaxing by the beach. It is equally enjoyable in front of a fireplace or a den. Atongo is a talented singer and performer that creates music as easily as one breathes. ~ Matthew Forss

LP Review: K. Frimpong's Ghanaian Highlife

K. Frimpong & His Cubano Fiestas [vinyl]

K. Frimpong & His Cubano Fiestas

Continental Records

The four-song vinyl release by the late-K. Frimpong is a testament to his energetic, Ghanaian highlife music originally from the 1970's Ofo Bros. label. The vinyl edition is released by Secret Stash Records out of Minneapolis, MN. Vocalist K. Frimpong is backed by his Cubano Fiestas orchestra of fourteen members on vocals, guitars, drums, congas, piano, trumpet, synth, sax, and percussion. The faster paced rhythms and psychedelic textures border on palm wine music from Africa's Western coast. Though not structurely too dissimilar, palm wine guitar music developed earlier and was so-named due to frequent imbibing of palm wine made from palm tree flower sap. Nevertheless, K. Frimpong is as addictive as palm wine. Side 2 only contains one track: "Adam Nana (Medley)", which is a fourteen-minute romp through the Ghanaian jungle of sounds that are spectacular at the very least. The three other five-to-eight-minute tracks on Side 1 represent K. Frimpong's awe-inspiring, highlife beats that can only seem to come out of West Africa. If Ghanaian highlife is what you are craving, then look no further than K. Frimpong and His Cubana Fiestas. ~ Matthew Forss

CD Review: Ghana's 'Bolga Zohdoomah'

Bolga Zohdoomah

Bolga Zohdoomah

Art Hurts Records

Lead by vocalist and talking drum player Akayaa Atule, Bolga Zohdoomah explores the sounds of Ghanaian highlife and Afrobeat. The California-based band brings out all the musical splendor with B3 organ, piano, bass, rhodes, mandolin, sax, trombone, and trumpet. The infectious rhythms and melodies are particularly evident on "Kiesiemi". Some Latin elements sneak in on "Siekirie", downtempo-funk on "Nerebala Senaala", and the Afro-beat-laden "Jingo" and "B'r B'r B'r". The songs are sung in Fra Fra, Hausa, Ibo, Twi, Ga, and English. Unfortunately, additional song information is not provided in the liner notes. Despite this, the music speaks for itself on multiple levels. The music is as energetic as Chopteeth and as nostalgic as Novalima. The music is fresh, diverse, and an excellent introduction into the music of Ghana. Afro-beat fans unite on this one! ~ Matthew Forss

CD Review: Ghanaian Highlife from San Diego - Akayaa's 'Masoh'

Akayaa

Masoh

Obonu Music

Ghana's musical heritage is performed by San Diego's Akayaa. Born in Ghana's Frafra tribe, Akayaa sings in Fra-Fra and Twi languages. Twelve tracks of Ghanaian highlife are represented on Masoh, which means 'father' in Fra-Fra. Energetic drumming and vocals are staples in West African music. The guitars, percussion, flutes, and vocals present a beautiful scene of happiness and longevity. The joyous music celebrates animals, introductions, arranged marriage, ancestral blessings, lullabies, childhood, and the continent of Africa. The songs are not in English, except for a few words, so a Fra-Fra or Twi dictionary may be necessary. Still, the musical tempos and rhythms transcend any translational barriers. A queen of Ghanaian music and respected teacher of singing, drumming, and dancing, Akayaa brings a unique energy and unwavering devotion to all her music projects. Masoh is a pivotal album of California Ghana music. ~ Matthew Forss

CD Review: Chopteeth - Live

Chopteeth

Live

Grigri Discs

Chopteeth is back with a live set of resurrected Afrofunk and Afrobeat tunes from Africa's greats including Fela Kuti, Tabu Ley Rochereau, Le Shimandou de Beyla, and Peter King. Of course, the band focuses on other tunes by Ignacio Rios, Rudy Gomis, Ndeye Mbaye, Barthelemy Attiso, Arthur Kennedy, Michael Shereikis, and Duke Ellington. The D.C.-based band is a purveyor in the golden age of African funk music. The classic 1970's tunes are mainly instrumental with plenty of brass, drums, keyboards, electric guitar, and bass. The ten songs were recorded at a few different locations around D.C. The audience participation is minimal with only a smattering of applauses or shouts. The groovy beats are a perfect accompaniment for a thriller or suspense film soundtrack. Chopteeth is a delectable band that always brings the brass with the sass. ~ Matthew Forss

CD Review: Alma Afrobeat Ensemble - 'Toubab Soul'

Alma Afrobeat Ensemble

Toubab Soul

Amphora Records

The Barcelona-based Alma Afrobeat Ensemble is an eclectic mix of band members and musical styles. Some members are from Norway, Senegal, USA, Ghana, Uruguay, and Argentina. Toubab Soul is a truly afro-beat recording with multilingual vocals, groovy-jazz dance, and highly percussive beats. Of course, there is an element of 1970's West African grooves. The rap opener, "Taskmaster", gets things started with an inherent African hip-hop beat without foraying too far into urbanism. "Mali" is an ode to the country of the same name. The guitar, sax, kalimba, and djembe drum provide a Latin influence to the instrumental track. The funky "New School", smooth-groove "Kudja", world-jazzy "Own World" and "Muziqawi Silt", and the reggae-tinged "S. Africa" provide a solid cross-section of tunes that are well-structured and musically-engaging. The Alma Afrobeat Ensemble makes the music of Africa shine all in one place. ~ Matthew Forss

CD Review: The Psychedelic Aliens Have Landed

The Psychedelic Aliens

Psycho African Beat

Academy LP's

Ghana's psychedelic-funk bands of the 1960's and 70's were influenced not only by other West African bands, but American rock and soul acts, too. The Psychedelic Aliens formed in 1968 and released only three short records over the next four years. So-named for the diverse ethnic composition of the group, The Psychedelic Aliens embodied an Afro-psyche-funk sound with touches of rock and soul for an outstanding album of historical proportions. The entire album contains only eight tracks, but this is attributed to the band's few recordings. The music does not disappoint. Anyone with an interest in African music from the 1960's-70's should obtain Psycho African Beat. After all, The Psychedelic Aliens have landed and their music doesn't sound so 'alien' to any of us. ~ Matthew Forss