Filed under: Somalia
Since my last and only Somali post – which was a guest post – there have been a small number of releases showcasing the music of that country: Analog Africa‘s Dur Dur of Somalia – Volume 1, Volume 2 & Previously Unreleased Tracks and Mogadisco – Dancing Mogadishu (Somalia 1972-1991), Afro7’s Light & Sound of Mogadishu and Ostinato Records‘ Sweet As Broken Dates: Lost Somali Tapes from the Horn of Africaa.
But information about records from Somalia is almost as rare as the records. I have not been able to find any information about the performer Mohámed Ahmed, lyricist Hassan Gudan, composer Basher Hadde or the record label Gazira Melody – other than the label only released two singles and that Indiana University’s Bloomington Archives of Traditional Music has a copy of both of those records.
There is an interesting post on the blog Tix iyo Tiraab (Poetry and Prose) that provides some history of the recording industry in Somalia during the 1960s to the 1980s.
[…] There were, thus, a few private labels in the first half of the 1970s, such as Sirag Noor & Co., Jirde Ltd., Light & Sound, Gazira Melody etc. These were basically commercial enterprises selling many miscellaneous articles, including music paraphernalia, instruments, vinyl records and, mainly, tapes. They also had fast recorders to tape cassettes for the customers and rudimentary facilities to (amateurishly) record bands live or in a studio, and they produced and commercialized the albums independently.
By mid-1970s the music production labels were completely owned by the government and that lasted for about a decade. In the mid-1980s, licenses were again granted to a number of firms, popularly known as stereos, studios or phones. These music shops were pretty much copies of their predecessors from the ’70s. However, producing and selling music- and film-related items, mainly cassettes and videos, was their principal activity.
If you have any further information, please leave it in the comment section below.
Catalog number 5742 on Gazira Melody, manufactured by Flex of Lebanon. No other information listed.
Filed under: Brazil, Chile, Guyana, Hong Kong, Nicaragua, Philippines, Singapore, Sri Lanka, Trinidad & Tobago
I thought I’d start the new year off with something a little different. First, this post has ten songs by nine different artists. Second, the only thing that connects them is that they covered music by Ennio Morricone from one of the three Sergio Leone‘s Spaghetti Western films: A Fistful of Dollars, For a Few Dollars More, and The Good, The Bad and The Ugly – a.k.a. “The Man with No Name” trilogy. Third, this post is the first to include music from South and Central America, as well as the Caribbean Islands. Originally, this blog focused only on Africa, The Middle East, India and Asia. But in the almost 14 years since this blog started, I’ve become increasingly interested in the music from South and Central America and the Caribbean.
♬ Titoli
I was first introduced to Hong Kong‘s Man Chau Po Orchestra [seen above] on Thrift Score Records’ sole release: Teen Dance Music from China and Malaysia. which had just about all of the tracks from this single. Also, Thailand’s Suang Santi‘s “Phu Ying Yai” sampled this version of the opening song from A Fistful of Dollars – not the original Morricone track.
Catalog number MEP. 5 on Man Chi Records Co. of Hong Kong, released 1966.
Chile‘s Los Sonny’s are the only other group that I was able to find to cover the theme from the first film of the trilogy. This track is from their second album which consisted entirely of songs from Spaghetti Westerns – including Stelvio Cipriani‘s theme to The Bounty Killer.
Catalog number CML-2638-X on RCA Victor of Chile, released 1968.
Bumble & The Saints were from Guyana. Aubrey Cummings was the leader of the band before leaving to become the lead singer for The Rhythmnaires. The flipside of this single is a cover of “Theme from Django”.
Catalog number I-28 on Ideal. No country of origin or date listed.
The Bad Boys – also seen as Los Bad Boys – were from Managua, Nicaragua. The band consisted of Humberto Hernández “El Gordo Beto” (vocals), Freddy Sequeira (bass, vocals), Francisco “Chico” Alvear (also known as Frank Alvir, guitar, vocals), Roman Cerpas (drums). They recorded 10 other singles for the Discosa label.
Catalog number 62 on Discosa of Nicaragua. No release date listed.
The Spitfires were from Columbo, Sri Lanka. I had been looking for their other single on Decca for ages. I only recently stumbled on this record. The line up for the band as listed on the back cover: Manager: Marcy Perara, Leader: Chinti Perara, Lead Guitar: Ronald Boustead, Rhythm Guitar: Donald Seneviratne, Bass Guitar: Felix Fernando, Electronic Organ: Claude Fernando, Drums: Chinti Perara, Vocals: Budrin Musafer, Sohan Pieris, Desmond se Silva.
Catalog number JVPC 1028 on Philips. No release date listed.
The Cassanovas – also seen as The Guinness Cassanovas – were from Trinidad & Tobago. They released nine other singles and an album. The rendition borrows heavily from Dominic Frontiere‘s “Hang ‘Em High“.
Catalog number ATM-57 on Atman Records of Trinidad & Tobago, released 1968.
Hélcio Milito was a Brazilian jazz samba/bossa nova drummer and producer who worked with musicians like Luiz Bonfá, João Gilberto, Astrud Gilberto and Luíz Eça. He has also helped make film scores for several Brazilian movies.
Catalog number 37.600 on CBS of Brazil, released 1969.
♬ The Good, The Bad and The Ugly
Relly Coloma is from the Philippines, but – according to his website – currently lives in Los Angeles. Although his bio says “over 70 albums”, Discogs only lists 23 – plus 7 singles.
Catalog number MLS 5186 on Villar Records of the Philippines, released 1970.
Here’s another one by Los Sonny’s with the title track to the album posted above.
♬ The Good, The Bad and The Ugly
Happy Melodians were from Singapore. This was most likely Maurice Patton & The Melodians. This song was included on Finders Keepers‘ compilation B-Music – Drive In, Turn On, Freak Out. Many other bands from Singapore covered these songs: Charlie & His Orchestra, D’Starlights, The Quests, The Stylers and The Vigilantes.
Catalog number JS 1001 on Jazzson Records of Singapore, released 1968.
This is by no means a definitive list. I was unable to find anything from the African continent and the only thing I was able to find from the Middle East was Selçuk Alagöz’s “Ringo” – which I have previously posted. There is a version of “A Few Dollars More” by The Tremolos from India. Whereas Discogs has a listing for a band called The Motion from Thailand who’s only single contains covers of both “For a Few Dollars More” and “The Good, The Bad and The Ugly”, I have not been able to find any proof that the record exists. And lastly, while countless songs from Jamaica reference the titles and actors of these films, I have not heard an actual cover of a Morricone tune from there as of this posting.
If you would like to listen to all 10 tracks in one uninterrupted mix – as well as a couple of other mixes – check out Radiodiffusion Internasionaal’s SoundCloud page.
Filed under: Thailand
♬ Lam Phloen Hak Sao Phom Pia / ลำเพลินฮักสาวผมเปีย
Wician Salawan, aka Sonthaya Kalasin, was born in the Kalasin Province in 1957. From an early age, he loved to sing, imitating the molam songs he heard on the radio and TV – including his favorites Angkanang Kunchai and Banyan Siwongsa. He did not undertake training as an apprentice, instead he learned the techniques for performing lam from his father, who himself was a molam singer.
Sonthaya was given his debut by Surin Paksiri. In 1975, Paksiri – who’s real name was Tidso Lam Sudsanan – formed the Tidso Lam Phloen Troup. Originally, he wanted Angkanang Khunchai / ทองนาง คุณไชย as the lead singer of the group, but she had become too popular. So, Paksiri hired Sonthi Sonmat / คม คีรีบูน, Phairin Phonphibun / ไพรินทร์ พรพิบูลย์ and Sonthaya Kalasin. Sonthaya originally started out as a dancer in the group but it was not long before Suring notice that Sonthaya had a talent for singing.
Although Sonthaya was adored by female fans for his good looks, he harbored a deep secret: He was transgender. Everyone in the Tidso Lam Phloen Troupe except Surin Paksiri knew this and affectionally referred to Sonthaya as ‘Older Sister’. Surin didn’t understand the nickname, and asked Sonthaya about it, and he explained everything. Surin was understanding and requested that Sonthaya continue to perform as a man as long as he was in the group. After the troupe disbanded, Sonthaya Kalasin fully transitioned. Her popularity has continued – mostly on television where she has become a regular personality.
EMI Japan released a compilation of Sonthaya Kalasin’s work in 2016 entitled Grade A Guy. Most of the information in this post was published in the extensive liner notes of that release. Many thanks to the amazing Peter Doolan of Monrakplenthai for translation and for the information about this record.
Catalog number RP 3129 3093 on Surin Paksiri / สุรินทร์ ภาคศิริ of Thailand, distributed by Golden Sound Record Store / ห้างแผ่นเสียงเสียงทองคำ จัดจำหน่าย. No release date listed.
Filed under: Sudan
♬ Fasueid Dawam Bilqak / فسعد دوام بلقاك
In the last couple of years, there’s been a few releases that have brought the music of Sudan to light: Ostinato Records’ Two Niles to Sing a Melody: The Violins & Synths of Sudan, ShellacHead’s The Lost 45s of Sudan and two albums reissued by Habibi Funk – Seif Abu Bakr & The Scorpions and Sharhabil Ahmed. But those records only scratch the surface. There is much, much more out there. And most of it is only available on cassette.
As for Bashir Abdel al-Aal, there is pretty much zero information available. If you google his name in English, you’ll find stuff about the “master of the Arabian flute” – obviously not the guy holding the Les Paul guitar in the picture above. If you google his name in Arabic, you pretty much get bupkis. According to Discogs, Munsphone did release one other cassette by him. If you have any further information about Bashir Abdel al-Aal, please leave it in the comment section below.
Catalog number ٥٠٣ – ٨٤٣٥ on Munsphone of Khartoum, Sudan. No release date listed.
Filed under: Senegal
Rockabilly? In Senegal? If there’s one thing I’ve learned: Anything is possible.
In the 1970s, Rockabilly had a revival in the United States with acts such as Sha Na Na, the film American Graffiti, the television show Happy Days. During the same time, there was also a revival of Teddy Boys in the United Kingdom. But how did Rockabilly make it all the way over to Senegal?
What little information I have been able to find on King Joe Dann says he was from Senegal. But that picture on the cover was obviously taken in Paris – unless Augustin-Alexandre Dumont did more than one version of Le Génie de la Liberté. The only clue is under the song title on the record label, it says: “CHANTE EN OUALOF” – which translated into English says “Song in Wolof“. Wolof is a language of Senegal, the Gambia and Mauritania, and the native language of the Wolof people.
If you have any further information, please leave it in the comment section below.
Catalog number 2C006-15.975 on Pathé of France, released 1977.
Filed under: Japan
I’ve covered Takeshi “Terry” Terauchi before… Twice, actually.
Terry Terauchi was the king of Eleki – instrumental music heavily influenced by The Ventures. The name is taken from the Japanese for “electric guitar”. By the early 70s, Takeshi Terauchi & The Blue Jeans were doing albums of Western Classical music and popular film songs. But in 1972, Terauchi released six albums. One was a tribute to Akira Kurosawa‘s 1950 classic film Rashomon / 羅生門..This single is the title track from the album – all of which is just as mind blowing.
Catalog number BS-1599 on King Records of Japan, released 1972.
Filed under: Kuwait
♬ Our Camel Lovely Camel /هيدو
I told myself I wasn’t going to buy this single, but the song got stuck in my head. So, now it can get stuck in yours. Here’s the story behind the song:
Back in October 1981 Kuwait was playing a world cup qualifying match in Auckland, New Zealand where the Kiwi fans had signs reading “Go back to your camels!” which they were waving as the Kuwaiti team came onto the field. Kuwait won that match 2 goals to 1.
When it was the home game later that year, 100 camels were brought on the pitch before the match to show that Kuwait was proud of its past.
Kuwait ended up qualifying to the 1982 world Cup in Spain and was the first Arab country from Asia to ever qualify. A Spanish newspaper later claimed that the Kuwait national team will be late to the World Cup because they would be “traveling on the backs of their camels!”. So, the Kuwaiti Football Association decided to use a camel – named Haydoo – as their mascot.
Unlike the newspaper had predicted, the Kuwaiti team ended up arriving early. Too early actually and no one, not the journalists or the locals knew that the Kuwaiti team was even in Spain! To attract attention, the head of the Kuwaiti Football Association told a French journalist who there to cover the arrival of the French team that “The Kuwaiti team would withdraw from the competition unless they were allowed to bring their mascot.” Within hours the hotel was packed with journalists wanting to find out more about the mascot
The Spanish authorities and the hotel manager finally allowed the Kuwaiti team to bring their camel as long as it was left in the backyard of the hotel. The head of the Kuwaiti Football Association then called the minister of sport in Morroco to send a camel as soon as possible to Spain. He also ordered a T-shirt to be made for the camel. This hype and the Camel mascot helped make Kuwait’s presence extremely felt by the locals and journalists.
Haydoo, has been the mascot for the Kuwaiti national team ever since. [Source]
Catalog number BUZ 30 on Bou Zaid Phone of Kuwait, released 1982.
Filed under: India
How could I resist that cover, right?
I haven’t been able to find anything on Milan Deb. He did record at least one other single for the Senola label that was die cut to look like an apple. And with the exception of Deb’s two singles and one other LP of Bengali folk songs by Saratchandra Chattopadhyay, Senola had only been active in the 1930s, releasing 78 RPM records.
If you have any further information, please leave it in the comment section below.
Catalog number EQS 1005 on Senola of Calcutta – now Kolkata – India. Released 1980.
Filed under: Upper Volta
As you may have guessed by the band’s name, L’Authentique Orchestre Dafra Star de Bobo-Dioulasso Haute-Volta were from Upper Volta – now know as Burkina Faso. The band was founded and led by Coulibaly Tidiani – also known as Tidiane Maxo.
Coulibaly Tidiani was was born in Kangala on the 31th of December 1941. [Source] He started his musical his career in the 60’s playing with the Volta Jazz before founding his own band in 1975. [Source] L’Authentique Orchestre Dafra Star de Bobo-Dioulasso recorded six singles and two albums – all but one of the albums were from the Music Hall label.
Both Volta Jazz and Orchestre Dafra Star are featured on the Numero Group‘s Bobo Yéyé – Belle Époque In Upper Volta box set.
Catalog number MH 004 on Music Hall of Bobo-Dioulasso, Upper Volta. No release date listed.
Filed under: Indonesia
Pomo bersama The Pro’s were from Indonesia.
Pomo – which is short for Soepomo – was the singer and played saxophone on this record. They recorded at least one other single together. Pomo’s only other recording is an album with a band called The Eternals before a brief stint in The Rollies – although there is no mention of him on The Rollies Wikipedia entry
The Pros’s were: Abadi Soesman (keyboards), Broery Marantika (vocals, keyboards), Dimas Wahab (bass), Enteng Tanamal (guitar), Fuad Hasan (drums), Ronny Makasutji (guitar). I am guessing this is a list of everyone who had played in the band since this single only had four people plus Pomo pictured on the back cover. Abadi Soesman currently plays in a band called God Bless that has been active since 1973. Broery Marantika – more commonly know as just Broery – had a lengthy career, recording up until his death in 2000. He recorded two albums with The Pro’s backing him. And Enteng Tanamal played in Eka Sapta and recorded a solo single.
Catalog number SSE 523 on Star Swan of Singapore. Released 1968.
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