Various Artists ‘Afro-Beat Airways 2: Return Flight To Ghana 1974 – 1983′ (Analog Africa) - 16th September 2013

Chronicler and curator of West Africa’s (with the exception of a few congruous excursions to South America) rich musical melting pot, Samy Ben Redjeb, under the banner of the Analog Africa label imprint, returns to that fertile hotbed of omnivorous ‘highlife’, Ghana.

Previous surveys of Angola, Benin and Nigeria have dug up pure musical gold; from the highly-rated and deemed essential record collection purchase, Africa Scream Contest, to perhaps my ’enourmed’ favourite, Legends Of Benin, each release can be considered a vital showcase for the continents most vibrant, funked-out and rhythmic workouts.

Released back in 2009 the label’s first ‘Afro-Beat Airways’ compilation (REVIEWED HERE) also crossed the eastern boarder into neighbouring Togo; part 2 contains itself wholly to Ghana, crisscrossing Africa’s first nation to gain independence from colonial rule. Lavished in the customary colourfully gilded packaging we’ve come to admire, with an abundance of rare period photographs and assiduous linear notes, Volume 2 appeals to the eye: the refashioned mix of LP covers, candid nightclub shots and energetic overlapping vivid patterns certainly capture the scenes energy.

A labour of love, Redjeb and his team go far beyond the role of just collators. Tracking down, if possible, the original artists and bands for permission and of course their stories. A hallowed trip through the bustling markets and streets of the capital, Accra, or on a dusty trail to parts of the ‘self proclaimed Islamic Funk belt’, Bolgatana, the travail is all taken care of on our behalf: all we need to do is kick back and indulge.

Attributed to one of the style’s most venerated and respected pioneers, Afrobeat is synonymously entwined for eternity with Fela Kuti, who slipped across the demarcated lines to escape the Biafra war in his Nigeria homeland during the late 60s, to take up an artistically rewarding sojourn in Ghana. Catching the local highlife flavour, Kuti added funk and jazz to the already heady mix to produce Afrobeat; a groove and natural rhythm both spiritually soulful and danceable. It took a while for the ‘shock waves’ to get going, but when they did, Ghana became an oasis of the movement; played out in the legendary nightspots – an integral part of Ghana’s cultural heritage and story in itself; covered in no small part by the album’s accompanying booklet. Throw in the influence of such giant luminaries as James Brown, Wilson Pickett and Otis Redding with reverberations of soul and R&B and you have something, almost, uniquely African – though one of the featured artists on the compilation, Tony Sarfo (And The Funky Afrosibi) found his ripe ‘soul licked’ backbeat instrumental, ‘I Beg’, mistaken for an obscure US record.

Touching down in the southeast town of Kumasi, the collection opens with the lumbering heralded horns and choppy funk guitar licks of The Uppers International – the only returning band from the first compilation. As with many of the fruitful tunes on offer it features not only a regular Uppers’ piqued, piped tool of trade, but the Afrobeat and highlife style’s obligatory reedy instrument of choice, the Farfisa. Fellow Kumasi residents and journeymen, Vis-A-Vis, back the Ivory Coast born Pierre Antoine on his two-speed (from swaying hipped reflective soul into busy Stax revue in seconds) ‘Say Min Sy Soh’, whilst another feature of that same landscape, K.Frimpong unfurls a rather sweetly played placable trumpet swooning, spiritual like hymn, ‘Abrabo’.

Down south on the Cape Coast it’s a family affair, as Ebo Taylor and son collaborate on junior’s, ‘mondo soul funk’, plaintive holy call, ‘Children Don’t Cry’. Further along the coast to Accra, and a treasure trove of riches includes the self-styled ‘ladies man’ Rob, whose narrated languid MC style vocal flows over a cowbell paraded shoe shuffling groove and one note sustained organ accompaniment. Proudly proclaiming a knowledge and proficiency in a myriad of musical disciplines and styles – including Bolero and Cuban Rhumba – The African Brothers polygenesis roll call of influences makes for some jerky sweltering party mode anthems; such as this hot-stepping dance highlight, ‘Wop Me A Ka’ (incidentally recorded at the PYE studios in Oxford Street, London).

On an album of rarities, the dusty Memphis drum thumping, incessant Farfisa (again) ‘muslim’ shake and rattle of Los Issifu And His Moslems – only the band leader was actually muslim, but the name sounded right – and staccato fashion, wafting sax ‘Gbei Kpakpa Hife Sika’ by Waza-Afriko 76, are both extremely obscure; along with the earlier mentioned Tony Sarfo, all three are making their ‘northern hemisphere debuts’.

Contributing two tracks to the compilation, drummer extraordinaire, Frank Kakrah sat in with, at various times, the Okukuseku No.2, Saints ’73′ and the mighty Barbecues before joining scene stalwarts, Cubanos Fiestas. He would also lead his own band, under both the De Frank’s Band and De Frank & His Professionals, monikers. The latter, ‘Waiting For My Baby’, sounds like an infectious Afrobeat version of ‘Louie Louie’ mixed with an electric bamboozled trumpet and constant ebb and tide rhythmic side-step.

Brought back to life then, the mid 70s to early 80s Afrobeat phenomenon is keenly and eruditely represented by these thirteen floor-fillers. Not just a worthy lesson in musical heritage, but a finger-snapping essential purchase: buy, buy, buy!!!!!!!!!!!!!!!!!!!!!!!!!!!