Oct 31, 2014

Fela Kuti and the Africa Shrine


There are scores of famous venues around the world. They have their lore, their history, their famous nights, their famous bands. All of these places are important and relevant. History is not a competition; this is not an article about the best venue. This is just the story of one venue, built for the sole reason of providing one man a pulpit to stick it to a string of dictators in one of the most politically volatile countries in the world. Well maybe that’s an overstatement. Maybe it wasn’t built for the sole reason of sticking it to a dictator. It was also built as a place for a new sound to be born, to grow, and to transform a country and a continent. Consequently, it was also a place for people to shake a lot of ass. To sweat into the morning. And to dance a few guns to silence.

The social and political climate of Nigeria is as hot as its summers. Africa’s most populous state is home to over 250 ethnic groups and over 500 living languages; there is a Muslim population split between majority Sunni and minority Shia and a Christian population equal parts Catholic and Protestant. Among them are myriad indigenous religions and a smattering of Hindus, Jews, Bahai, Krishnas and other religions.

Unifying a nation this diverse comes at best with complications, at worse with severe tragedies: since Independence from British colonial rule in 1960 Nigeria has been subject to numerous military coups and a 30 month civil war which ended in 1970 saw the death of up to 3 million people. After 1970, enough oil was discovered in Niger delta to make Nigeria the world’s 8th largest exporter of oil, a blessing to some extent, but a naturally double edged sword as the power oil brings creates a vacuum that leaves in its wake a host of human rights abuses and social problems, especially in politically fragile states. As a result, military rule endured for the next 30 years. It was a rule which saw numerous generals under numerous coups in a country where the careers of dissenters often ended at the end of a rope.

In one of its most famous cases, writer and Ogoni activist, Ken Saro Wiwa was executed in 1995 for his outspoken voice against Shell and its collusion with the Nigerian military in human rights abuses and environmental degradation on Ogon land. His judicial murder was met with international condemnation. Nelson Mandela called it a heinous act.

But Saro-Wiwa was not Nigeria’s loudest activist and government critic.

Not by a long shot.

It was not Chinua Achebe, author of the great African novel ‘Things Fall Apart’. It was not even Africa’s first Nobel Laureate, Wole Soyinka.

To qualify as a the loudest and most popular anti-government critic in a country as volatile as Nigeria, you would first have find your pulpit. To do so would require you to forego your overseas training as a doctor and choose instead to become a musician. So that people would gather at your pulpit, you would then have to pioneer a music style that would be known around the world and long outlive you. Following or during this near-impossible feat, you would then carve out a small plot of communal land for your band and your studio and you would declare to your military rulers that your land and your musical pulpit is independent from their rule. You would then strip away any references to slave or European references from your name and marry 27 women.

Your music would accomplish what no government could. You would unite a diverse Nigerian population on a hot dance floor in Lagos while a very large band played very long songs that would leave spectators a sweaty mess by morning. During the night, your audience would hear you rip into the government, calling officials out by name for their corruption, and calling on your audience for action and social justice for the poor. Your music would be such a threat to the power of a men who rule with machine guns and intimidation that to stop you they would have to send a thousand soldiers to burn down your commune with all of your instruments in it, beat you to near death, rape the women of the commune, and throw your mother out of a second storey window. In an act of protest you would deliver your mother’s coffin to the doorstep of the nation’s dictator. Despite the fact that you would see the inside of a Nigerian courtroom over 350 times, or face years of imprisonment on bogus charges, you would never stop playing music.

Your music would be called Afrobeat, a polyrhythmic big band blend of traditional Yoruba music with highlife, jazz and funk, and your name would be Fela Kuti. Your pulpit, your place of musical worship where all of this would go down would be known simply as the Africa Shrine.

Fela Kuti is dead. That is to say, his corporeal presence on earth has ended. Rightly so, perhaps, because the place of men with courage like this is not among mere mortals. But his music plays on and his musical bloodline continues through the music of his sons Femi and Seun, themselves critically acclaimed Afrobeat stars.

The Africa Shrine is gone. That is to say, the physical presence of Fela’s original political pulpit burned to the ground by soldiers (although the official Nigerian word is that a single ‘unknown soldier’ committed the arson) is gone. But it’s a venue whose political and musical legacy lives on. Under the guidance of Femi Kuti, The New Africa Shrine was opened in Lagos not long after Fela’s AIDS-related death in 1997. Afrobeat still pounds through the speakers of the New Africa Shrine, and like its predecessor it remains under the watchful eye of the government which has attempted, for dubious reasons, to close it. Though located in a different part of Lagos than the original, The New Africa Shrine, much like the old, remains the spiritual center of the defiant music that permeated Africa and beyond, and a rallying point for activists in Nigeria today.

Songs are not always political, but music is. The music of the New Africa Shrine may not always contain in them the vehement anti-government diatribes of Fela Kuti but the danger to Nigeria’s rulers, or the rulers of any country for that matter are as real as ever. Because when Christians, Muslims, and Jews, or Indigenous Africans and non-Africans share a dance floor, differences erode, and a danger far worse than guns presents itself to those in power.

“Dance your anger and your joys,
Dance the military guns to silence,
Dance oppression and injustice to death,
Dance my people,
For we have seen tomorrow
And there is an Ogoni star in the sky.”
– Ken Saro-Wiwa

Earlier this year Strut records released Fela Kuti – Live in Detroit ’86, the first “official” formerly unreleased Fela Kuti album since Underground System in 1992. Read icrates review HERE.

Originally published by 

Oct 29, 2014

Demos Deniran And The Luko Resurgento ‎– Face To Face (get it) (by orogod)

The LP was recorded in 1980 with The Luko Resurgento band. It is deep and hypnotic afrobeat music. I love it, every tracks are particularly great.
Thanx to orogod.blogspot 
for sharing this album: GET IT!
A1 Face To Face
A2 Agidimalaja
B1 Sege
B2 Olo Fofo

Oct 28, 2014

From Great Britain: Kalakuta Millionaires


With members hailing from Kenya, Tanzania, Ghana, Malaysia, Italy and the UK, Kalakuta Millionaires is a truly global mix of musicians who draw on influences from jazz, funk, soul and world music.

Following live recordings for Mark Lamarr at BBC Maida Vale studios, the band has performed to thousands, headlining stages at Glastonbury Festival, Latitude Festival, Secret Garden Party, Waterford Spraoi, Sunrise Festival and many more.


Tanzanian/ Kenyan vocalist Siggi Mwasote has generated her own unique lyrical style, giving a fresh funk-soul twist to the traditional African aesthetic. Many of the lyrics are written in a mixture of Swahili and English and the unique female-led perspective is communicated passionately through the music. This is particularly reflected in their song Yansan, written about the fate of women and children in Charles Taylor’s Liberia, and Bata Boy, written about homophobia in the Afro-Caribbean music scene.

The band draw on a wide range of influences in their writing, taking the listener on a musical journey which references jazz, funk, soul and world music. A heavy underbelly of rhythm and bass underpins a horn section blistering with soul, whilst jazz-drenched guitar riffs merge seamlessly into highlife and funk. A truly polyrhythmic percussion section of four congas, percussion rack and hand held percussion brings in East and West African, Cuban and Brazilian influences.
The band cite their musical influences as The Lijadu Sisters, ESG, James Brown, Ernest Ranglin, Oscar Sulley, Fela Kuti and Orlando ‘Cachaito’ Lopez.

The word ‘kalakuta’ translates as ‘rascally’ in vocalist Siggi Mwasote’s mother tongue of Swahili. It is also a nod to Fela Kuti’s compound in Nigeria, the Kalakuta Republic, where the ethos was very much anti-establishment – as was the attitude towards music-making:

“Fela contended that AfroBeat was a modern form of danceable, African classical music with an urgent message for the planet’s denizens. Created out of a cross-breeding of Funk, Jazz, Salsa and Calypso with Juju, Highlife and African percussive patterns, it was to him a political weapon.” www.fela.net

… so the name Kalakuta Millionaires literally means ‘rascally rich’ – which can be interpreted as a political statement regarding globalisation, or simply that this renegade crew break all the rules with their wealth of musical styles.



Kalakuta Millionaires license their self-titled debut album to The Big Chill Label.

Ok there’s good news and then there’s stratospherically brilliant news and the signing of Kalakuta Millionaires to The Big Chill Label is up there with the stars. Rarely has a band been better suited to a label, Kalakuta Millionaires pretty much sum up the original spirit of The Big Chill, which was always about free creative expression and the mashing up of musical genres.

The band started out in the summer of 2008 and by 2009 had been invited to record a live session at BBC Maida Vale studio. Since then they have carved a reputation for themselves as one of the finest live acts to come out of the UK. The band’s line up consists of some of the finest Jazz, Latin, Funk and African musicians rocking these shores. They draw on a wide range of influences, inspired by giants like Fela Kuti, James Brown, Ernest Ranglin, Oscar Sulley and Orlando ‘Cachaito’ Lopez as well as the likes of The Lijadu Sisters and ESG. Tanzanian/Kenyan vocalist Siggi Mwasote has her own unique vocal style, giving a fresh funk-soul twist on the traditional Latino/African aesthetic. Combined with dubbed up bass and rhythms, a horn section blistering with soul, jazz-drenched guitars that melt into highlife, funk and one of the most polyrhythmic percussion sections this side of Lagos and you have one utterly irresistible musical proposition.

Kalakuta Millionaires have a strong belief that music has no enemies, borders or religion and strive to promote equality through music. This is reflected in songs like ‘Yansan’ written about the fate of women and children in Charles Taylor’s Liberia and ‘Bata Boy’ written to counter homophobia in the Afro-Caribbean music scene.

‘Kalakuta’ literally means ‘rascally’ in lead singer Siggi’s mother tongue Swahili. It is als a nod to Fela Kuti’s compound in Nigeria, the ‘Kalakuta Republic’ that had an anti-establishment ethos that also summed up fusion based approach to making music. So the Kalakuta Millionaires translates as ‘rascally rich’, which could be a political statement against globalization or the sensibility of a renegade Afro Orchestra drawing on a wealth of musical styles. Either way, following the limited initial self-release of previous recordings, which attracted plays on Radio 2 (via Mark Lamarr), 6 Music (via Craig Charles), Afrobase (totallyradio.com) and support from the likes of Russ Dewbury and 4Hero, the band are now ready for a global audience (with US partnerships in place). The first single is currently being remixed for release this summer with the album to follow just ahead of their UK and European tour. So prepare yourselves for the red hot Kalakuta Millionaires blazing away at a venue near you. Unstoppable.

Kalakuta Millionaires are a band rich in rhythm and loaded with attitude. They draw on a wide range of musical influences, inspired by musical giants such as Fela Kuti, James Brown, Ernest Ranglin, Oscar Sulley and Orlando ‘Cachaito’ Lopez, as well as hidden gems such as The Lijadu Sisters and ESG.

Following live recordings for BBC Maida Vale studios in 2009, they have carved out a reputation as one of the most dynamic live acts to come out of the UK. Drawing together some of the UK’s finest Jazz, Funk, African and Latin musicians, the band has performed to thousands of people and headlined stages at some of the best festivals and venues in the country. With airtime on BBC Radio 2 and BBC 6 Music, KM tunes have been played on Craig Charles’ Funk & Soul Show, Mark Lamarr’s God’s Jukebox, Russ Dewbury’s Jazz Rooms show and John Warr’s Afrobase show.

KM have a strong belief that music has no enemies, no borders and no religion, and passionately strive to promote equality through music. This is particularly reflected in their song Yansan, written about the fate of women and children in Charles Taylor’s Liberia, and Bata Boy, written about homophobia in the Afro-Caribbean music scene.

Tanzanian/ Kenyan vocalist Siggi Mwasote has generated her own unique lyrical style, giving a fresh funk-soul twist to the traditional Latino/ African aesthetic. A heavy underbelly of dubbed up rhythm and bass underpins a horn section blistering with soul, whilst jazz-drenched guitar riffs merge seamlessly into highlife and funk. All this, plus one of the most polyrhythmic percussion sections this side of Lagos!

The band’s debut album is out on global release via the Big Chill Label, and their second album is set for Spring 2014 in collaboration with renowned producer Nick Faber.


1. Kubadili 06:14
2. Feel Free 07:02
3. Ye Ye Minyoro 06:24
4. Agbadza 03:37
5. Akumpaye Too Bad 07:08
6. Funky Nassau 03:58
7. Water No Get Enemy 08:16
8. Olufeme 05:28
9. Para Cachaito 06:43


Oct 27, 2014

From France: Afro Social Club - Sittin' On A Bomb

Afro Social Club is a french collective of 9 musicians gathered around Fela Kuti's legacy.

We all share the same passion for afrobeat and its most recent declensions, building our own music, in the name of the groove and spirit of this powerful sound.

Check out here or here


1. Road Runner 08:42 
2. Aynalem 05:32 
3. The Cast 07:38 
4. Soyinka 06:09 
5. Agbaja 06:29 
6. YWBB 06:02 
7. King Bill 09:09

Oct 23, 2014

Pierre Antoine - Kalabuley Woman

Hot Casa Records reissues one of the best Afrobeat albums in history, containing two obscure and incredible tracks. Kalabuley Woman was composed by Pierre Antoine, an Ivorian artist supported by 15 band members, including the legendary Sammy Cropper on guitar, and Lola Everett on vocals. This fantastic album was recorded in Accra (Ghana) in 1977 and produced on the Ivory Coast by the famous label Papa Disco. Ahui Ngoran Marcel aka Pierre Antoine was born in 1951 in Aboisso, a city situated at 117 km from Abidjan, in the south-east part of the Ivory Coast, close to the Ghanaian border. His name Pierre Antoine is a direct tribute to the French artist "Antoine," as he loved to wear his hair long and had a cool, stylish jacket. In 1977 he settled down in Ghana where he discovered the most influential and prolific Afro-soul scene, and started to work with Pat Thomas, his wife Lola Everett, and the famous guitar player Sammy Cropper. During this period, you can hear the musical evolution of the artist, when he got really close to the Afrobeat arrangement and the Pan-African scene. The musical arrangements on this album are amazing and unique and include a hypnotic piano and a fantastic horn section. A must-have and a simply classic Afro-soul album.



Deep and obscure Afrobeat from the always on point Hot Casa Records. Originally from the Ivory Coast, Pierre Antoine was born Ahui Ngoran Marcel and ended up naming himself after a French artist who went by Antoine. He drew inspiration from international pop music, specifically James Brown and French singer Johnny Hallyday. After traveling and performing throughout the early 70s, Antoine settled down in Ghana. There he became ensconced in the influential and prolific Afro Soul scene and started to work with Pat Thomas, his wife Lolla Everett, and Sammy Cropper. He developed an Afrobeat sound and released Kalabuley Woman on Papa-Disco in 1977. Both the title track and "Ye Man Noun" feature the looping rhythms characteristic of the best of Fela Kuti. "Ye Man Noun" might be the heavier of the two, but both cuts deliver where it counts. Kalabuley Woman has been hard to find since it was first released. Thankfully Hot Casa has seen fit to reissue the album today. - See more at: http://turntablelab.com/products/pierre-antoine-kalabuley-woman-vinyl-lp#sthash.L4W5COBK.dpuf
Deep and obscure Afrobeat from the always on point Hot Casa Records. Originally from the Ivory Coast, Pierre Antoine was born Ahui Ngoran Marcel and ended up naming himself after a French artist who went by Antoine. He drew inspiration from international pop music, specifically James Brown and French singer Johnny Hallyday. After traveling and performing throughout the early 70s, Antoine settled down in Ghana. There he became ensconced in the influential and prolific Afro Soul scene and started to work with Pat Thomas, his wife Lolla Everett, and Sammy Cropper. He developed an Afrobeat sound and released Kalabuley Woman on Papa-Disco in 1977. Both the title track and "Ye Man Noun" feature the looping rhythms characteristic of the best of Fela Kuti. "Ye Man Noun" might be the heavier of the two, but both cuts deliver where it counts. Kalabuley Woman has been hard to find since it was first released. Thankfully Hot Casa has seen fit to reissue the album today. - See more at: http://turntablelab.com/products/pierre-antoine-kalabuley-woman-vinyl-lp#sthash.L4W5COBK.dpuf
Deep and obscure Afrobeat from the always on point Hot Casa Records. Originally from the Ivory Coast, Pierre Antoine was born Ahui Ngoran Marcel and ended up naming himself after a French artist who went by Antoine. He drew inspiration from international pop music, specifically James Brown and French singer Johnny Hallyday. After traveling and performing throughout the early 70s, Antoine settled down in Ghana. There he became ensconced in the influential and prolific Afro Soul scene and started to work with Pat Thomas, his wife Lolla Everett, and Sammy Cropper. He developed an Afrobeat sound and released Kalabuley Woman on Papa-Disco in 1977. Both the title track and "Ye Man Noun" feature the looping rhythms characteristic of the best of Fela Kuti. "Ye Man Noun" might be the heavier of the two, but both cuts deliver where it counts. Kalabuley Woman has been hard to find since it was first released. Thankfully Hot Casa has seen fit to reissue the album today.


Oct 22, 2014

More zamrock ... 5 Revolutions – I’m A Free Man

Ben Phiri (Times of Zambia):

A weekend search at Lusaka’s Kilimanjaro Night Club by music promoter Edward Khuzwayo and his producer David Nyati during the 1970s revealed massive talent in the form of a youthful band calling itself the 5 Revolutions. The band was crazy when it came to stage gimmicks, which went well with the fashion of those days when local musicians sported Afro hairstyles with high-heeled shoes, tight bell-bottomed trousers and balloon shirts. This was the style of the 5 Revolutions, whose Zamrock sound blended heavy rock from foreign bands with Afrobeat pieces from Osibisa and Nigeria’s Fela Anikulapo Kuti.

Leonard Koloko (Zambia Music Legends):

These five lads from Ndola swept teenagers off their feet with their bubblegum pop hits in the mid-70s. They were a splinter from the Boy Friends of the era of imitation. Managed by Zambia Music Parlour, they churned out songs that youths easily identified with because of messages that touched on adolescent social issues such as girl-boy relationships, the generation gap and drug abuse.

Check out here!


A1. Mwapulumuka Kunjala Adaka
A2. You Got To Find Out
A3. I'm A Free Man
A4. Kulemelo Kwa Bambo Wanga
A5. Respect Yourself

B1. The Zambian Revolution
B2. Feeling Allright
B3. Bombwe Mafika Part 2
B4. What Can We Do

Oct 21, 2014

More zamrock: Alex Kunda – Kingdom of Heaven

Liner Notes:

This is the first solo album of Alex Kunda, a musician who has faced the ups and downs of what it means to be a musician in this up-coming country. In brief, this is what Alex Kunda has been and is to date. Alex Kunda came into the music world between 1969 and 1970. He tried his luck as a drummer with the then “Cross Town Traffic” while at the same time working with the Zambian Broadcasting Services as a recording engineer. Things didn’t work out. In 1972, he tried again, this time as a promoter. Formed A&B Promotions with a close friend Billy J. Ndlovhu. Promoted bands like “Way Out Impression” and “Dr. Footswitch.” This time things flopped. [...] The formation of the new Musi-O-Tunya band in 1972 opened a new chapter in the life of Alex Kunda after he quit the ZBS. M-O-T, which relied heavily on the power of the drums, gave the determined Alex a great chance to improve his percussion. His thunderous and hypnotic drumming earned him the name “Mista Feelings” in Kenya, where together with M-O-T he had played for three years and regarded it as his musical home. Determination and a great love of music have combined to produce Kingdom of Heaven, which ears can describe better than words.


A1. The Kingdom of Heaven (Kunda)
A2. Diya (Kunda)
A3. Think of the Nature (Mvula)
A4. Kulimbandangwe (Kunda)
A5. Changa (Kunda)

B1. Ulesi Uleke (Mbewe)
B2. No More Lie (Kunda)
B3. Zimbabwe (Kunda)
B4. Tendeleka (Kunda)

Oct 16, 2014

New album from analogafrica: Verckys & Orchestre Vévé - Congolese Funk, Afrobeat and Psychedelic Rumba

Congo's turbulent and exhilarating '70s! Nightclubs and dance floors were packed to the brim in the capital Kinshasa. Exuberant crowds, still giddy from independence a decade prior, grooved to the sounds of the country's classics. In fact the whole continent was submerged into the Congolese Rumba craze. Encouraged by the fantastic productions of the Ngoma label, vibrant radio waves had been spreading the Congo sound from Leopoldville all over the continent, becoming the country's No.1 export. The unexpected success nurtured an incredible wealth of talented musicians. One of them was Verckys, who, at age 18, became a member of the country's most dominant and influential band: Franco's O.K. Jazz. This "relationship" however was short-lived as Verckys, aka Georges Mateta Kiamuangana, now a versatile and potent multi instrumentalist, had plans of his own - the formation of Orchestre Vévé in 1968, with the aim of reinventing and modernising the Congolese sound. Blending the ever influential prowess of James Brown with Congolese Merengue, Rumba and Soukous, Verckys stripped away the conventional approach that O.K. Jazz had pioneered, allowing his saxophone-laced melodies to dominate. Around 1970 a new important area began with the foundation of the label "Les Editions Vévé" on which Verckys would release his own productions. A studio was built and Verckys started recording young urban artists, with guitar-driven Cavacha sounds; Les Freres Soki, Bella Bella, Orchestre Kiam and many more shot to stardom overnight, making Verckys a very wealthy man. But that wasn't enough for an ambitious man with a vision. He built a sprawling entertainment complex called Vévé Centre, and dispatched a team to learn the intricacies of record pressing to set up the first pressing plant in the country. This was followed by the construction of the Congo's most modern recording studio in Kinshasa, in which he recorded the legendary Tabu Lay Rochereau. Orchestre Vévé's popularity poured across borders and in 1974 the band travelled to Kenya for a 2 month tour. 'Bassala Hot', 'Cheka Sana' and 'Talali Talala' were some of the tracks recorded in Nairobi for the Kenyan market, songs which are now available to the ears of the world for the very first time. Analog Africa has now the privilege to present 11 tracks by Verckys et L'Orchestre Vévé at the height of their most funky capabilities. Compiled over the course of many years in a land of hardship, we welcome you to the grooviest era of the Congo with a CD and double LP release accompanied by in-depth liner notes and vintage photographs. Verckys, who James Brown dubbed "Mister Dynamite" after seeing him perform in Kinshasa in 1974, will be touring Europe in the summer of 2015. 



01. Bassala Hot 7:41 (Afrobeat)
02. Ya Nini 9:45 (Congolese Rumba)
03. Cheka Sana 4:42 (Afro Funk)
04. Oui Verckys 3:20 (Organ Jerk)
05. Nakobala Yo Denise 4:00 (Afro Pop)
06. Sex Veve 4:25 (Blues)
07. Sisa Motema 4:13 (Psychedelic Rumba)
08. Talali Talala 4:08 (Afro Funk)
09. Zonga Vonvon 3:56 (Psychedelic Rumba)
10. Nakomi Paralise 6:42 (Cavacha)
11. Matinda comono 2:45 (Pachanga)

Oct 15, 2014

From South Africa: Peto ‎– Khaya (Where The Heart Is)

A vinyl worth to listen to ...


A1 African Salad 5:00
A2 Rocking Situation 4:51
A3 Khaya 5:20
A4 Bahleli Bogoloza 4:17
A5 My Darling My Sweety 3:39
B1 Asilimanga 4:46
B2 Madoda 4:35
B3 Friday (Zis'imali Yam) 4:21
B4 Mpetha Square 5:35
B5 Rosetta 4:59

Oct 13, 2014

From Poland: Warsaw Afrobeat Orchestra - Wendelu

It is hard to believe an afrobeat live orchestra playing in the snow of Warsaw. But you have to face the facts - WAO are the first band of this kind in their homeland and perhaps in the whole Eastern Europe. With experienced players known in the Polish ethno scene for bands like Zywiolak or Village Kollektiv, they are pushing the boundaries of Lagos-born style with unusual vocals and mixing with funk, reggae, jazz, dub and traditional European music. The band marked their presence with self-titled EP released in March 2013, quickly noticed for original music, known here before only from the local shows of afrofunk luminaries like Tony Allen and Femi Kuti. WAO promoted it: "This release is like a hot wind blow from Africa. It brings the rhythm and melodies full of joy and activates you. Check it on your way to work or school!" The band encouraged with the reception of the EP started to perform live at the local clubs and outside the town. Original Warsaw`s music brought them to attention of respected Ubiquity Records from California, with over 250 releases ranging from hip-hop to funk to electronic music. "Only Now", WAO`s beautiful red vinyl 12" was released in November 2013 and includes a massive remix from Ubiquity’s friendly producer Bosq from Whiskey Barons. Bosq pushed the track even harder into a massive clubby dancefloor killer. The release promotes the band`s upcoming full-length album on Ubiquity, in production now, planned for the release in Autumn 2014.
Warsaw Afrobeat Orchestra - Wendelu 
Following up on their well-received single “Only Now” featuring a remix with label mate Bosq, Warsaw Afrobeat Orchestra deliver a knockout debut album full of heavy Afro and island-inspired tunes.

The album title Wëndelu means “Wanderer” in the native African Wolof language and is a fitting name for the album which explores the wide-range of sounds from the African diaspora and infused with their own traditional Polish folk, jazz and rock sensibilities. Tracks such as “No Such Thing”,“Let It Flow” and “Usurpation” reflect an obvious Reggae and Dub influence while the uptempo numbers on the album “Close To Far” and “Which Direction” veer towards Afro-Disco and Funk.

Formed in 2012, the 10-piece band consists of musicians that have worked and collaborated with each other in different projects ranging from rock, jazz, folk, reggae and funk in the ever-evolving and musically diverse underground music scene in Poland. Inspired by the masters of Afrobeat, world music, as well as African tribal music which is evident in their lyrics and choruses that repeat and weave in and out of deep, hypnotic grooves infusing it with a transcendental quality. 


A1 Stop
A2 Signs
B1 Empty Words
B2 No Such Thing
B3 Only Now
C1 Usurpation
C2 Close To Far
C3 Which Direction
D1 Your Way
D2 Let It Flow
D3 Your Way (Remix)
Check out here!!!!

Oct 9, 2014

The Broadway Quintet – Amalume

Liner Notes:

They hail from such old-time groups as the Rhokana Melodies, The Crooners, De Black Evening Follies and The City Quads. It was the UNIP National Band of 1962 that brought the boys together. And they’re still together 14 years later! Tony Maonde, Zacks Gwaze, Timothy Sikova, Jonah Marumahoko, Simanga Tutani – individually, musicians of rare talent; together, The Broadway Quintet, polished night-club performers of Lusaka’s Hotel Intercontinental. But, beneath their public image there runs, like the mighty Zambezi, a creative force that explodes with originality and electrifying beauty. From vocal compositions like “Mr. Music” and “Change Your Mind” through the more traditional “Jiye Manguwe” and title-track “Amalume,” The Broadway Quintet move into instrumentals of the brilliance and vitality of “Matteo” and “Nifyo Fine.” To The Broadway Quintet we say, “Thanks for a fantastic LP.”


A1. Amalume
A2. Kanyange
A3. Nifyo Fine
A4. Chingoma
A5. Change Your Mind

B1. Akana Ndiwo
B2. Jiye Manguwe
B3. Matteo
B4. Kayuni
B5. Mr. Music
B6. Pimu Chinanga

Oct 7, 2014

More zamrock ... THE WITCH interview ...

By the mid 1970s, the Southern African nation known as the Republic of Zambia had fallen on hard times. The new Federation found itself under party rule. Zambia’s then-president engaged what was then Southern Rhodesia (now Zimbabwe) in a political fencing match that damaged his country’s ability to trade with its main partner. The Portuguese colonies of Angola to the West and Mozambique to the East were fighting their own battles for independence; conflict loomed on all sides of this landlocked nation.
This is the environment in which the catchy – if misleadingly – titled “Zam Rock” scene that flourished in 1970s Zambian cities such as Lusaka and Chingola emerged. Though full of beacons of hope for its numerous musical hopeful it was a tumultuous time and it’s no wonder that the Zambian musicians taken by European and English influences gravitated to the hard, dark side of the rock and funk spectrum. From the little of the Zambian 70s rock and funk music that has been spread via small blogs and bootlegs – the likes of Chrissy Zebby, Paul Ngozi and the Ngozi Family, and the devastating Peace – we learn that fuzz guitars were commonplace, driving rhythms as influenced by James Brown’s funk as Jimi Hendrix’s rock predominated, and the bands largely sang in the country’s national language, English. (http://www.nowagainrecords.com)

It's a truly great pleasure to talk with you Emmanuel "Jagari" Chanda. I'd mostly like to talk about two things. Firstly about scene itself and then about your band in particular. Let's start at the beginning. What do you think was the moment when you began listening to rock music. It was hard and almost impossible for you to buy records, so the only way was probably via radio stations?
I started listening to pop music first on the radio in the early ‘60s as a young boy-it was the DJ’s choice-e.g. "Top Of The Pops", "Beat In Germany" and Mozambiques forerunner to "Maputo Lorenzo Marica Hits Parade". My late elder brother George, who brought me up, had a radio and a record player, but his taste was Jim Reeves’ type of music, mine was more of Cliff Richard, Beatles, Hollies, Monkeys, Manfred Mann, Troggs, Rolling Stones, Dave Clark Five, Elvis Presley, and the like. The rock influence came slightly later, after I listened to Deep Purple, Grand Funk Railroad, Led Zeppelin, The Who, Jimi Hendrix, Free, Alice Cooper, Santana, Black Sabbath, etc. This time I had access to records through friends and schoolmates as Teal Records Company and Zambia Music Parlor came into the scene.

'WITCH' was the first band that released an LP. But were artists such as Paul Ngozi or Rikki Ililonga, already established as musicians? They didn't record yet anything at the time, right?
Paul Ngozi, whose real name is Paul Nyirongo, was first in 'The Scorpions' and 'The 3 Years Before', before he formed the 'Ngozi Family'. He changed his name to Paul Ngozi when he went solo. The same is true for Rikki Ililonga who had been in many bands, including 'Mosi-o-Tunya' before he went solo. Both were established/experienced musicians playing live gigs in various clubs and places. Rikki and Paul settled in Lusaka while the 'WITCH' were in Kitwe (about 340 kilometers apart). But recordings by various bands and solo artists only came after 'WITCH', and when Teal Records and Zambia Music Parlor started signing on musicians from the mid-1970s onward.
What did the very early beginnings of the scene look like? I'm thinking prior to 'WITCH'. Was there actually anything connected with rock music? Anything not recorded at the time but played in concerts?
Yes, there were unrecorded bands, both along the Copperbelt (copper mining towns near one another, about 40-50 kilometers apart) and Lusaka (the capital city of Zambia). From the Copperbelt we had at least a band or two in each town. Kitwe had 'The Black Souls', 'Red Balloons', 'The Boy Friends' (later 'The Peace'), 'Peanuts', 'Fire Balls' etc. Ndola had 'The Yatagana', 'Armanaz', 'Black Foot', '5 Revolutions', 'Upshoots', etc. In Luanshya there were 'The Twikels' and 'Black Jesus', while in Mufulira there was 'The Gas Company' (later On Paper). 'The Oscillations' were in Bancroft (later to become 'Chililabombwe'). I cannot remember any bands in Chingola, another of the Copperbelt towns. There were also many bands in Lusaka, such as 'Rev 5', 'Salty Dog', 'MIGS', 'Lusaka Beatles' (later 'The Earth Quakes'), 'Mkusi', 'Cross Town Traffic', 'Born Free' (later 'Cross Bones'), 'He/She Mambo', 'Explosives', etc.
What year did 'WITCH' form? How did you meet the guys and what were their names? I know you'd begun being musicians at early ages in school, where you were all classmates. Those bands never recorded anything, but I would like you to tell us the musicians names and how you came to form 'The WITCH'.

'The WITCH' was formed in 1971-1972. It was first called 'The Kingstone Market' but after some members left the band Chris Mbewe, Wingo, and George Kunda (known as Groovy Joe) and I remained in Kitwe to become 'The WITCH'. I was recruited by Groovy Joe after he saw me jam with 'The Red Balloons', 'The Boy Friends' and at some school performances (I was at Chaboli Secondary/High School). I was in the same class as two members of The Black Souls (Jeff Mushinge and Leonard "Lee" Bwalya. Later on Groovy Joe and Wingo left 'The WITCH'. They were replaced by Boyd Sinkala ('Black Souls'), John "Music" Muwia and Gideon Mwamulenga ('Boy Friends'). So the new lineup was: Chris Mbewe (lead guitar), John Muma (and guitar and vocals), Gideon Mwamulenga (bass), Boyd Sinkala (drums) and myself (vocals and percussion). This is the lineup that recorded the album "Introduction". We later added Paul "Jones" Mumba on organ.
'WITCH' is an acronym for "We Intend to Cause Havoc". How did you come up with such a name?

'The WITCH' was coined by the late 'Wingo'. It was picked from a sound effect (wah wah) "footswitch". He removed "foot" and suggested "Switch". Then we removed the "S" leaving 'WITCH', like a witch on a broom stick, but later a graphic artist (our friend in Kitwe) coined the acronym "We Intend To Cause Havoc".

You formed in second largest city of Zambia called Kitwe. Was the Zam Rock scene only in this city or was it across the whole country?

The Zamrock scene was a common feature along the whole line of rail in Zambia (the urban towns) from the border town Chiliabombwe (near Congo D.R.C.) through the Copperbelt, from Kabwe and Lusaka to Livingstone (the last town before Zimbabwe). There were similar performances at clubs, festivals, agricultural and commercial shows, trade fairs etc. in these cities, probably because the sources of music and the influences were similar. The rural areas were not so much influenced by Zamrock or pop music and instead played mostly ethnic traditional music on various occasions and ceremonies. Part of this rural music is the Kalindula genre.

In 1972 you released your first LP called "Introduction", which is probably the first Zam Rock LP.   Previously  there were only 'Musi-O-Tunyas' singles. This album is one of the first indicators of how pure and catchy Zambian garage rock can be. This was private release of 300 copies if I recall correctly and you went to Nairobi to record it. Would you like to share with us some of your memories from recording this LP? I would also like to know what kind of gear you guys used. Also, what can you tell me about the cover artwork?
"Introduction" and "In The Past" were recorded at Malachite Studio in Chingola (Copperbelt); "Lazy Bones” was recorded at DB Studio in Lusaka; but "Lukombo Vibes" and 'WITCH' (including Janet)"  were recorded at Sapra Studio in Nairobi, Kenya. The music qualities and studio professionalism graduated to better as we progressed in the recordings. 'Sapra' was the best of all the studios we had used. Mr. Debef, the sound engineer was the most experimental of them all. The local recordings were just like a stage live performance, done in mono, and if one made a mistake we had to start all over again as a band. The common gear was bell bottom trousers; high heeled shoes and afro hair do (Black American/Jimi Hendrix style of those days). The album artwork of "Introduction" depicted a new thing coming down from Heaven. The "Lukombo Vibes" artwork was my concept. Lukombo is a drinking cup/gourd in my language. For the back cover I was thinking of a lonely banished/outcast traditional composer (not in the picture) as he saw his dwelling place deserted. "Lazy Bones" was for the ladies and girls who believe men should fend for them all the way, waiting for spoon feeding.
Brand of gear – we used different types
- Fender, Yamaha, Marshall for amplifiers
- P.A. system: Dynacord and Yamaha

- Guitars: Gibson (Les Paul), Fender (Stratocaster),

- Mics: variety, including »Shure«

Chris Ideally preferred Fender, but we had only a few choices depending on what "Piano House" stocked at the time.

Trick of the Trade:

When we started managing our selves/own affairs (apart from contractual recording obligation).

- We devised a work schedule for rehearsal; from 09:00hrs to 13:00hrs (Monday to Thursday) – own compositions: 14:00hrs to 17:00hrs copyrights (usually western pop/rock music).

- No girlfriends were allowed in the rehearsal room (so that everyone was free to agree or disagree with bands' direction of rehearsal).

- We kept some money in the band, and only got $200 out of pocket allowances each per week (reason being: all royalties went to redeem the musical equipment on live shows in come).
- Later on, we rotated band leadership every six months in order to share responsibilities and develop the scene of ownership and belonging (even though in the practical sense the rotation was only amongs, Gideon, Chris and myself).
- Driving of our van to transport the equipment was restricted to Chris, because he was the most sober of the lot. Boyd drove too, only when Chris either unwell or too tired.

The LP was selling at shows. How did people react when they heard a local band on vinyl?

People were quite excited and we would have sold a lot more if it had not been that one member (usually myself) had to go and have master stamps and records done in Kenya for limited copies before Teal Record Company came on the scene to start printing records.

Two years later you released another LP called "In the Past" which was again privately released but was reissued the same year by the legendary label, 'ZMP' (Zambia Music Parlour LTD). It was founded by Edward Khuzwayo and was located in Ndola. How did he get in contact with you? In fact would you tell us what you know about the beginning of this label, which released most of the Zam Rock stuff. Who was Edward?

Zambia Music Parlour, owned by Edward Khzwayo started as one of the first distributors of records which were printed/pressed by Teal Records, also in Nidola. In addition to that he managed 3 bands:  'The Twinkies', '5 Revolutions' and 'Black Foot'. He lived in the neighboring town of Luanshya but operated most of his businesses in Ndola. I am told that he had worked for Zambia Railways before he left to set up his own company. He was originally from either Bulawayo or Prum Tree in Zimbabwe. His right hand man, David Billy Nyat, help him run the bands, including supervising their recordings. Sometimes he also sang with 'Black Foot'. When 'WITCH' parted company with their manager, Mr. Phillip Musonda, due to some contractual differences, I approached both Teal Records and Zambia Music Parlour for possible management of the band and sale of our master tapes ("Introduction" and "In The Past"). Mr. Musonda took his musical equipment from the band despite the fact that we had contributed to its purchase. So we demanded our master tapes back. He paid for our music being recorded but we composed the music. Finally we resolved to go our separate ways amicably. We sold the master tapes to Mr. Khuzwayo and signed a 4 year recording contract with Teal Records. Mr. Musonda took one third of the proceeds and we called it a day. I personally got along fairly well with Mr. Khuzwayo.

Back in 1972 ZMP released Blackfoot's "Minnie" album, another great example of Zamrock. There is another band you might help me to get more information about. It's called 'The Peace'. I know they were from Andola and they released album called "Black Power", but I don't know when it was released and I don't know anything about them. Can you tell our readers who they were, because the album is a great example of fuzzy psychedelic rock.
'The Peace' was formed after its forerunner, 'Boy Friends', broke up. John Mums and Gideon were part of 'Boy Friends' before they came to join 'WITCH'. The manager/leader was Ted Makombe. His parents came from Zimbabwe. The band was based in Kitwe rather than Ndora. Ted has since passed on, but I am in touch with his brother and sister. His children are still around too. Ted was a personal friend of mine. I cannot remember which year the "Black Power" album was actually released.

Let's move forward through your discography. Probably your most well known LP is called "Lazy Bones!!"  It was released in 1975 on Teal Records from Bulawayo, Matabeleland, North Zimbabwe. Before the LP came out you also released a couple of singles and one of them sold out around 7000 copies, which is absolutely amazing. How many copies do you think the LP sold? Where did you record it and what are some of your strongest memories from producing and recording this amazing LP?
Teal Records Company came from South Africa, not Zimbabwe. I believe its sister company is Gallo Records. The "Lazy Bones" LP actually sold over 7,000 copies. I am not sure of the singles sales. "Lazy Bones" was The WITCH’s first album under the Teal Records contract and the first taste of a more serious studio. Ms. Niki and Mrs. Skinner managed the studio and Peter Musungilo was their sound engineer.

You released two more albums, can you tell me their names? The production and songwriting improved with each album. I know there was a moment when you could afford to buy a new gear. What did you buy?

"Lukomo Vibes" and "WITCH (Including Hit Single Janet)" were our 4th and 5th albums. Yes, indeed the music, arrangements and lyrics were progressive. Another guy, Shadreck Bwalya joined hands with me (we both finished our high school while the rest of the band members did not) so it was easier for the two of us to write English lyrics. He got paid for songwriting, but not as a full band member. We got a 15,000 kwacha (Zambian currency) loan from Teal Records Company to buy our own set of musical instruments so all the royalties from the records under contract went to offset the loan and the band lived on the income from live shows/performances. We had put ourselves on monthly wages and that’s where we got our up keep money and gear (uniforms and personal tastes). We had velvet (black and maroon) uniforms for special shows like weddings. There was no formality in terms of gear, anything would do.
Music composition and arrangement: Anyone would bring ideas – tune/lyrics but usually the band agreed on the arrangement. On "INTRODUCTION" and "IN THE PAST", the music was done and recorded almost at random and in haste – not much work was put in because we were anxious to put our works on wax/vinyl. However, later on we were more serious, sensitive to critists and we had an extra head in Shadiki Bwalya – together we pooled ideas. There were also some rare cases of one person putting the whole piece of music/song together while the rest of the band just added a little touch or flavour to the piece ("The way I feel" by Boyd Sakala; "The only way" - my self; "Nazungwa", Chris Mbewe) etc.

You once mentioned that concerts were very long and not properly organized. You just started playing and then people came. Would you like to share a little about that?

Sometimes we were hired to perform at social functions, promotions of goods and services, weddings, etc. At other times we booked venues ourselves, put up posters and played there while someone else sold beverages and food. The shows varied between 2 to 6 hours with 30 minute breaks every 1 ½ to 2 hours.

The largest concerts were at music festivals, Agricultural and commercial shows and trade fair stinst - The arenas were big and people only paid at the gate to see many different exhibitions (including musical bonds who were hired by show organizers/companies exhibiting at the show) other wise its not easy to pinpoint one of the biggest show in nine years I was with the band.

The most prestigious concert was in Lilongwe, Malawi in 1974/5. The band had police escort on the way from Blantyre to Lilongwe and we had diplomats in the audience. Curtains raising for 'Osibisa' was also remarkable.
Payments for band performances varied with the type of shows e.g. for a wedding up to $400 plus transport (plus drinks and food); teen – time (after noon) shows 14:00hrs to 19:00hrs realized between $200 and $300. Night clubs or sessions where $1500 plus transport per show (from 19:00 hrs to 02:00hrs) or up $2000 sometimes when the band hired venues and collected gate takings or shared gate takings with venue owners 50/50 or 60/40 while someone else sold beverages at shows if it was not a night club. Gate charges were $2 per person – usually at night – 50C per person for teen – time (this included school going audiences).

Let's get back to the beginning of the scene. One of the major influences or breakthroughs if you prefer was 'Osibisa'. Did they tour your country or how did you were you so influenced by them?

We once opened for 'Osibisa' when they toured Zambia and played in Kitwe at Nkana Stadium. We had the privilege of mingling with the band members and asked them questions and observed their organization. They were musical, happy going, quite sure of themselves, very creative and energetic; they were marvelous to watch and listen to. They definitely influenced my approach to fusing an African touch to my rock compositions, as could be seen on the "Lukombo Vibes" album which my band recorded after our experiences with 'Osibisa'. Personally, Ted Osei (their band leader) inspired and encouraged me to go to the school of music, which I did in 1977.

In an interview you did with Egon you mention bands like the Beatles, the Rolling Stones, Grand Funk Railroad, Deep Purple and Jimi Hendrix as influences. Were there any other artists you liked at the time?

Apart from those groups I also listened to a lot of other Western music, such as Albert Hammond, Creedence Clearwater Revival, Bachman Turner Overdrive, Bread, The Doors, etc.
Let's get back to some of the releases. Paul Ngozy is one of the better known names. What do you know about him. Were you friends? He released some really amazing albums first in english and then deciding to use one of your language on late 70's albums.
Yes Paul Ngozi was a personal friend. I was one of the pall bearers at his funeral. He was friendly and a tribal cousin (in Zambian people from the Northern and Eastern parts of the country regard one another as cousins after a historical war they fought many centuries ago). I came from the North and he came from the East. He was a rocker with a central theme of social commentary in most of his lyrics. English was not one of his favored languages. 
One of the best LP's was "My Ancestors" by 'Chrissy Zebby Tembo & Ngozi Family'. Chrissy was a drummer who later also started a solo career. Who all was in 'the Ngozi Family'?
 The other guys I remember in the 'Ngozi Family' were Peter Bwalya (bass) later replaced by Justin Nyirongo, Scare (drums), and Jasper Lungu (2nd guitar/vocals), but I was not in constant check with the changes in the lineup.  There were several.        
One of the most important groups from the scene was 'Musi-O-Tunya', which featured an amazing guitarist who later released several solo albums. His name was Rikki Ililonga. Another amazing guitarist was Keith Mlevhu. Mlevhu played for 'The Real Five' and who else? I know he recorded some solo albums later with great heavy guitar work on them.
Keith Mlevu (Shem Mulevu was his real name) was one of Zambia’s most accomplished musicians and guitarists. I first saw and heard him play during a music festival at Jubilee Hall in Lusaka, during my school holidays when I visited my grandfather in Lusaka. Keith was impressive with his solos and vocals. His band was called 'The Rev 5'. They mostly mimicked The Rolling Stones while the Lusaka Beatles, later 'Earth Quakes', followed the Beatles style. He later left and played with various groups before he went solo.  
Its interesting, that instrumental music was not very popular, with a few exceptions including Rikki's work. The main thing was rhythm. You once mentioned  that  the rhythms rather than the harmonies are most important in your music.

Yes, in my study of African music. I have discovered that the strength of African music is crisscross rhythmic patterns that provoke reactions from the participants who are tempted to dance along. The vocals are usually call and response with short lines of verses and 2 to 3 harmonic parts which are not notated. The Western music can sometimes be quite complicated in arrangements, melodies and harmonies, e.g. orchestras and choirs.
Do you think that there is a certain reflection of war times in your music? Not just in yours but in Zamrock  music in general, which kind of settled down and create an atmosphere we can hear on the records?

Zambia has never experienced any serious war per se, even though we supported a lot of freedom fighters from around us, such as Zimbabwe, Angola, Namibia, South Africa and Mozambique. Maybe what you hear in some Zamrock music has to do with cries and protests by artists so as to be recognized and respected in society by the authorities that be. Usually, musicians were regarded as failures in most parts of our society, such that no one wanted to marry their daughters off to musicians. In my band’s case "Tooth Factory" and "Black Tears" reflect these conflicts. Once we were arrested for "noise making to annoyance". The Home Affairs Minister ordered our arrest during a performance at a nightclub near his home so I wrote "October Nights" while in police custody. It took protests from our fans to secure our release after 2 or 3 nights (the arrest was on Zambia’s Independence Eve).

Circumstances were hard for you guys in Zambia. For instance when the Paul Ngozi got a record deal and released his album, but he still went to Nairobi and printed out bootlegs of his albums.

Maybe I missed that Paul Ngozi turn of events but what I know is that at one point in Zambia we had a censorship board which banned or could disallow certain songs being played on national radio if that’s what you are referring to. Insulting songs or those criticizing government policies were considered to be in bad taste, for instance.

Was the scene influenced by any psychedelic or other sort of drugs or perhaps rituals? I don't mean just your band, but in general?

Marijuana was a common feature in Zambia’s rural set ups, before it became illegal. Some villagers believed it gave them desire and push to go an extra mile while working on their fields to grow more food. Likewise most musicians and artists in general, as well as some athletes used it with a belief that it increased their creativity and zeal. There were no rituals during Zamrock shows, nothing like the "Woodstock" scenario either. Fans smoked privately too, especially those who could not afford beer and hard drinks to help them enjoy the gigs.

There is one band I want to ask you about. They were called Amanaz and they came out of your town and formed around late 1973 and recorded absolutely amazing LP called "Africa" in 1975 on ZMP label? What are perhaps some other bands, that we didn't mention yet?
"Armanz" were based in Ndola. There are still two living members of this group. Keith Kabwe (drums/vocals) is now a Penticostal Pastor in Mbala, a town in the Northern part of Zambia, while Isaac Mpofu (lead guitar/vocals) is now a farmer in Chongwe, a suburb east of Lusaka. Your other info on the band is correct. There were many other Zamrock/Pop groups around that either recorded one LP or never recorded their music for one reason or the other, e.g. Oscilations, Mkushi, Fire Fballs, Sentries, Explosives, Upshoots, Salty Dog, etc. in addition to those I have mentioned previously.
I know 'WITCH' toured some neighboring countries. How did citizens in neighboring countries react to your music? Besides Nigeria you were the only country that had rock music. In fact the only country who invented something musically. Nigeria was in my opinion highly influenced by Ginger Baker experimentations.

We never toured Nigeria, but we recorded in Kenya, performed in Tanzania (Bahai Beach), Malawi (almost the entire country), Zimbabwe (few towns), Swaziland, Botswana (many towns), and almost all the provinces of Zambia. I do not remember experiencing flops in these areas, some of our music was rather new to them so our repertoire was a mix of Western songs and our own compositions. My band was highly talented so it was easy for us to read our audience’s expectations and adapt to the occasion. Generally the band was appreciated and well received. We were quite entertaining and a lovable bunch.

Out of the scene there was another genre born called "Kalindula". The most well known representatives were the "Five Revolutions" I believe. Would you care to share a few words about this genre. It was mainly released on ZMP label, right?

There are 10 provinces, about 72 ethnic groups in Zambia. In each province there are a few common social ceremonies, festivals, lifeline occupational activities, etc. which determine the type of music and musical instruments to employ. In turn, these give guidance to the genre that is relevant. Kalindula is just one of the many there are in Zambia and its common in some parts of Central and most of Luapula provinces in the country. However, Kalindula became more popular after ZMPL signed recording contracts with a few bands and solo artists who had the bias of this genre. These included 'The 5 Revoutions', 'Mulemena Boys', 'Sereje Kalindula Band', 'Lima Jazz Band', 'Spokes Chola', 'P.K. Chishala', 'Shalawambe' and many more.

What occupies your life lately?

There are a few things that have occupied my life lately and presently. I am a mentor, resource person and teacher in many projects and organizations which tap and promote music talents among the youth of Zambia. I am also on the Adjudicator’s Panel that rewards deserving musicians each year through the National Arts Council. I still write songs, mostly Christian, which I intend to record as soon as funds are available for booking a good studio and hire good Christian session musicians to help me record. Another goal is to raise sufficient funds to  build a school of music and to accommodate a world standard recording studio for the less privileged in my society. I have gotten into a gemstone mining venture because sponsors are not easy to come by. But I really believe God will make a way one day.

I sincerely thank you for taking your time. Would you like to share anything else? Perhaps a message to It's Psychedelic Baby readers?

Thanks for the wake up call and a nudge for me to start thinking about writing a book on my experiencers in the music industry – a good idea indeed. Thanks also for giving me a starting point. Maybe I should let you edit – what do you think?
Unfortunately, there are no footages of me performing with the 'WITCH BAND'. Even though I have one or two footages of me jamming with other bands the other guys. The guys who kept the footages at our Nationa Broad Caster (ZNBC) passed away many years ago and left no info as to where they kept them (since the footages were personal to holder stuff) – pity eh! No diary either on my part – but I can try to recall many things, events, incidences etc.

Thanks to Egon (Eothen, man you are great, and a God sent pal), Klemen and Kevin and all the readers of It’s Psychedelic Baby Magazine. Thanks to all you guys. Please buy the 'WITCH' music and help me realize my wildest dreams, as well as helping the families of my departed band mates through royalties. I really feel resurrected musically and expectant of living my dream as a world renowned musician with a number of hits on various world hits lists, or at least with a song or two for a major film. You guys have rekindled my hopes. I pray that we can meet face to face at some of my promotional tours/performances.

God bless you all meanwhile!

Oct 6, 2014

More zamrock ... Harry Mwale Experience

Harry Mwale Experience - Harry Mwale Experience 
Another rare Zamrock album comes to light with the Harry Mwale Experience. The sole and lone album from the legendary figure is fully licensed, and is a blend of psychedelic rock, ethnic psychedelic (with fuzz guitar) and even some soul. Overall a very robust and strong effort with above average fidelity as compared to most Zamrock releases, and one of the more obscure and harder to find records from Zambia, as well as one of the more unique. Limited to 500 copies on LP, one time limited edition pressing. For fans of BLO, WITCH, Salty Dog, Amanaz, The Peace, Survival and other afro rock albums. Look out for our upcoming Zamrock selections as we have a lot to roll out, including some from the original master tapes! 
A1 Doing Up
A2 Don't Feel Shy
A3 In The Midair
A4 Mkango
B1 Osaye Party
B2 Forgotten Islands
B3 Njanji
B4 Osaye