Radiodiffusion Internasionaal Annexe

♬ Sengula

Formed in 1964, originally under the name Ritmo Jazz and then Quinteto Angolano, the band changed their name to N’Goma Jazz in 1966. The leader of the band was guitarist Sebastião Matumona, who gave the band their distinctive sound. Other members of the band included lead vocalist José Manuel, Augusto Pedro on rhythm guitar, Ferreira Domingos on bass, and Caetano Lemos and Joaquim Pedro Manuel on percussion. They recorded at least a dozen singles during their run.

If you have any further information about this artist or anything else about this recording, please leave it in the comment section below.

Catalog number MPA-4010 on Merengue of Luanda, Angola. Released 1975.

♬ Merengue la Tambora

I first became aware of Conjunto África Show on Analog Africa’s second volume of Angolan music entitled Angola Soundtrack 2 – Hypnosis, Distorsions & Other Sonic Innovations 1969-1978​.

The band was founded in 1968 by José Massano Júnior (vocals and drums) with Alberto Teta Lando (vocals and guitar), Zeca Tyrilene (bass), Tony Galvão (organ), Joaquim Amaral (dikanza) and António Miguel Imperial (guitar). During their short six year run, they released 15 singles – all on the Angolan label N’gola.

Catalog number NGA 104 on N’gola of Angola. No release date listed.

♬ Missangas Na Cabaça

The music of Angola usually does not get the attention that many other African countries receive. The music is a mix of influences from Congolese music from their northern neighbors, Portuguese Fado and Latin Merengue, as well as Cuban and American Jazz. The result can be heard in Angolan merengue (based on Dominican merengue), kilapanda and semba – the last being a genre with roots intertwined with that of Brazilian samba music.

Os Bongos have been featured on a three compilations. The song “Lena” can be found on Soul of Angola: Anthology 1965/1975 and “Kazucuta” appears on the album Angola 70s: 1974-1978 – both on Stern’s Music. “Kazucuta”, as well as the song “Pachanga Maria”, will be on the upcoming compilation Angola Soundtrack on Analog Africa. The only information I was able to find on the band, is from the press release for Angola Soundtrack: “Boto Trindade, guitarist of Os Bongos, abandoned his dream of becoming a football player to support his brother’s family by earning money as a musician.” Having seen the other packaging for previous Analog Africa releases, I am sure that the booklet that will accompany this compilation will have plenty of information…

Catalog number R: 1207 on Rebita, pressed by Fadiang (also known as Rádio Reparadora do Bié) in Silva Porto for Discoteca de Angola in Luanda. No release date listed.

♬ Xala-Kiambote

During the early 1960s, the Portuguese government that ruled Angola realized that they needed to silence the musicians and other artists who were breeding resentment against their colonial authority. Instead of ostracizing Angolan culture, the Portuguese started to encourage it, although in a very controlled way. A small local recording industry began, and radio stations started to play Angolan music. At the time, the music of Angola was heavily influenced by the popularity of Congolese music from the neighboring country as well as Portuguese Fado, Latin Merengue and American Jazz.

Originally a locksmith by trade, Antonio Urbano de Castro started out in show business as a side show performer. He and his friends Dikembé, Fakir and Silva would run shows of acrobatics, lifting barrels with their teeth and other exercises. Shortly afterwards, De Castro and Dikembé formed a vocal duo, and would sing for small auditoriums at funerals and other rituals.

But that changed when Luis Montês caught De Casto performing at the N’gola cinema in Luanda. Montês would go on to arranged for De Castro to perform at the “Kutonoca”, a programme of popular music that occurred on Saturdays in different districts of the capital.

In a career that only lasted five years, De Castro recorded over fifty songs. He also was able to record with the best known groups existing at the time – Os Kiezos, Jovens do Prenda, África Ritmos, África Show, Super Koba and Águias Reais.

When Portugal’s Carnation Revolution happened in 1974, there was a sudden withdrawal of administrative and military personnel from Portugal’s overseas colonies. As a result, Angola would enter into a decades-long civil war. During this time, De Castro illegally moved to Congo-Brazzaville. Upon his return to Angola, he joined the anti-Communist Union for the Total Independence of Angola political party.

On May 27, 1977. Urbano De Castro was killed by members of the opposing Popular Movement for the Liberation of Angola party that has ruled the country since its independence.

The song “Revolução De Angola “ was included in Buda Musique’s “Angola 70’s: 1974-1978“ compilation, and three of De Castro’s songs were on the “Soul of Angola Anthology: 1965-1975” on Lusafrica.

Catalog number R:- 1003 on Rebita, pressed by Fadiang (also known as Rádio Reparadora do Bié) in Silva Porto for Discoteca de Angola in Luanda. No release date listed.

♬ Wenda Solá

Os Alegres, which translate to “The Glad Ones” in Portuguese, were from Angola.

The music of Angola has been shaped both by wider musical trends and by the political history of the country. In the 20th century, Angola has been wracked by violence and political instability. Its musicians have been oppressed by government forces, both during the period of Portuguese colonization and after independence. Angolan music also influenced another Lusophone music in Brazil and Cuban music.

The capital and largest city of Angola is Luanda, home to a diverse group of styles including Angolan merengue (based on Dominican merengue), kilapanda and semba, the last being a genre with roots intertwined with that of Brazilian samba music.

Compared to many of its neighbors in Southern Africa, as well as other Portuguese colonies (especially Cape Verde), Angola’s music has had little international success. The first group to become known outside of Angola was Orquestra os Jovens do Prenda, who were most popular from the late 1960s to the early 1970s, and have continued sporadically performing and recording since.

If you have any information, please contact me.

Catalog number S.D.L.S. 01 on Do La Si Discos, made in Lisbon, Portugal for Electromóvel. No other information available.