On any post, if the link is no longer good, leave a comment if you want the music re-uploaded. As long as I still have the file, or the record, cd, or cassette to re-rip, I will gladly accommodate in a timely manner all such requests.

Slinging tuneage like some fried or otherwise soused short-order cook. Embiggening the earholes

From Buttholes to Europop, from Loons to Bassoons.

15 June 2013

Coupla Days Off

It's Father's Day tomorrow. My daughter's here. 
We just pulled into this lovely cay in Seychelles. 
We're gonna sit on the beach, 
drink some rum punch, 
smoke alotta ganja, 
get a huge bonfire going on the beach before dark 
& relax. 
Be back on the mainland early next week. 
Be hittin' the Marrabentas & Shangaan Electro of Mozambique when I return. 
See ya.

14 June 2013

Seychelles







Patrick Victor is one of the most renowned sega singer/guitarist from Seychelles, who over the past decades has made a significant contribution in shaping the music scene of the Indian Ocean islands nation. Bergitta Victor is his niece. She grew up with music in her life, her heart, & her soul. The root of all her music lies in the beauty & splendor of the Seychelles where she spent her childhood.


In 1993 Patrick was invited to appear with his Seychelles Sound & Dance Group at the prestigious Montreux Jazz Festival. At only age 11, Bergitta came along to Switzerland. There she discovered a new, dynamic world of music: jazz, soul, rhythm & blues, & pop music. She formed a band with some of her school friends. Soon Bergitta was singing at weddings, birthday celebrations, & even festivals. Not confining herself to singing, Bergitta was also writing her own songs.

She got jobs singing jingles, doing backing vocals for reggae & hip-hop bands, & because of her vocal stylings, to write & record her own tunes in the areas of chill house & trip-hop. Her personal musical style is a mixture of pop, soul, & jazz that she had come to love mixed with the world music style from the Seychelles.

Bergitta is young artist with a promising future.

 Bergitta Victor – Sesel, Jazzhaus R, 2009. 
decryption code in comments

Tracklist –

Sesel
If I Should Go (feat. Namusoke)
Beruehr Mich Jetzt
Sprich mit Mir
So Deep (feat. Namusoke)
Every Word You Say
Silly Song
Sinn des Lebens
Je Mehr
So Deep (original)
Sister Yeah Yeah
Donn Li en Rev
Love (We do Strange Things)

Enjoy,

13 June 2013

Mauritius




Nowadays every other person seems to use the word epic to describe just about anything. I’ve even heard TV blurbs saying some reality show episode was ‘epic’. I don’t think so. Wish they’d look up the meaning & give the word a break. Most of that shite is far less than ‘epic’.



Epic - 1. noting or pertaining to a long poetic composition, usually centered upon a hero, in which a series of great achievements or events is narrated in elevated style: Homer's Iliad is an epic poem. 2. resembling or suggesting such poetry: an epic novel on the founding of the country. 3. heroic; majestic; impressively great: the epic events of the war. 4. of unusually great size or extent: a crime wave of epic proportions.


Those are the first four definitions of epic & they all seem to apply not in the least to an episode of Hell’s Kitchen or The Bachelor. However, the story I relate here, I believe, is truly EPIC!

Joseph Reginald ‘Kaya’ Topize was born in the ghetto of Roche-Bois, Mauritius on August 10, 1960 into a family of five children. His fisherman father could not afford Kaya’s education, so he was placed under the guardianship of an uncle. Joseph had a hard childhood. Being an Indian & Métis mulatto, he was a victim of racism from a very young age.

At 16, he decided to learn the guitar. He was a quick learner & was soon playing covers of songs by Mike Brant, Santana, & Deep Purple. He began playing dances & weddings with his first band, Wind & Fire. Joseph soon discovered reggae music. Bob Marley became his idol. He even adopted the nickname Kaya as a shout out to the album of the same name. No more Mike Brant & other groups for Kaya. He now devoted his musical abilities to interpreting the songs of Bob Marley. He was asked to join the group lead by singer Stephano Lelou Menwar’ (Black Hand) Honore because of his guitar skills. They were a Sega protest band who, under the guidance of Kaya, quickly converted to reggae. They recorded the cassette Létan Lenfer in 1982 (Kaya first taste of studio recording). Menwar’s music was not commercially successful enough for Lelou to earn a living, so he chose to go to the island of Reunion in 1985.


At this point, Kaya decided to gather some of his friends from Roche-Bois & create the group Racinetatan, named after a Malagasy rebel prince exiled to Mauritius. Heavily influenced by reggae & the message of the Rastafarians, the band is a huge success. Kaya used his musical skills to incorporate the triplets of traditional sega music with the binary rhythm of reggae. In so doing, he invented a new musical style, called Seggae.

Seggae is not an instant hit with the fans, however. They want the simple reggae beats & the new sound is complex, the pace is anything but simple.


Another roadblock in Kaya’s path to acceptance is his pro-marijuana stance, something that fit oerfectly with his reggae infkuences & his African heritage. But Mauritius is not a safe or easy place to be pro-pot. The government there does not differentiate between different types of drugs. They impose severe penalties on dealers, users, & activists alike, whether for hard drugs like heroin & cocaine or recreational drugs like marijuana. Yet it should also be noted that the Indians of the Mauritius drink a decoction of the ganja in their religions rites, without knowing any problem. It is true that drugs are a scourge in Mauritius, especially in the poorer Creole communities, torn by alcohol, heroin, & prescription drug abuse. The real issue is racial, as the laws are much more harshly applied to poor Creoles that other sectors of the populace.

In 1995, Mauritius abolishes its death penalty, which applied to murder & drug trafficking. Valayden Rama, leader of the Republican Movement (MR), among others, tries to have the government set up guidelines that will make different penalties for differing types of drugs. As a result, many musicians join to the cause. They organize concerts to promote the decriminalization of marijuana.

On 16 February 1999, the Republican Movement hosts a free concert for the decriminalization of Ganja at the St. Edward-VII Reduces area, close to Rose Hill. Five groups participate, including Kaya. Valayden opens the festivities with a speech in favor of the legalization of soft drugs. He then asked the crowd to vote by show of hands for four resolutions calling for the decriminalization & which appealed to Prime Minister Navin Ramgoolam, that those imprisoned for possession of  ganja (about 2000 or 75% of the prison population, with sentences ranging from a few months to two years) to be granted amnesty.

Getting into the spirit of the moment, a crowd of some estimated 2,000 participants, many of them young Rastafarians, smoke joints openly. There are Special Security forces en masse, armed with clubs, but everything remains peaceful.

It was only the next day that the government & police forces decide to harass five people identified as having publicly smoked or having incited others to smoke ganja during the concert. Among the five is Kaya, who admits to having smoked that night. He is immediately imprisoned in Alcatraz, a detention facility traditionally intended for wholesale dealer & hard-line criminals. His bail is set at 10,000 rupees (2500Fr), a very sizeable amount. His wife, aided by his musicians friends & influential members of MR managed to raise the bail, put an end to a story at once ridiculous & discriminatory. However, due to various blunders by lawyers, there is a red-tape delay. Kaya can not get released on Saturday, February 20 & must wait until Monday to be released. Only Kaya was never set free. His wife & friends never see him alive again. He was found dead in his cell on the morning of Sunday, February 21. The official police version is that Kaya died from self-inflicted injuries from smashing his head against the cell walls. Kaya’s wife requests a second opinion. The examination was conducted by a medical examiner of Réunion, Dr. Ramstein. His findings stated that the injuries were not consistent with someone hitting their head against the wall. He stated that Kaya was beaten.


The news spread quickly across the island, causing the tears of many people & a feeling of revenge. Then began the first riots in the neighborhood of Roche-Bois which rapidly spread to the rest of the country. Police barricades were set up in the streets of the capital. The police quickly responded to protesters by opening fire, fatally wounding many people, killing several, including Berger Agathe, a friend of Kaya, also a musician. The violence was fed primarily by the official version of the suicide of the singer, but the malaise was culturally much deeper. It was actually the expression of the sense of injustice felt by the Creole community as a whole. The death of Kaya, who had always spoken out in favor of a multicultural society & a unified Mauritian national consciousness crystallized all the societal tension & racial opposition between Creole & Hindu communities.

More than fourteen years later, the memory of Kaya is still strong in Mauritius. The Mauritian government has continually denied any wrong doing. Yet the global economic crisis has only amplified the social inequality & deepened the drug problem among the underprivileged youth, still fueling the breach in the repression. Ethnic rivalries simply suppressed by a government that continues to exert shameless communal politics at the expense of minorities.

 The Epic Saga of Kaya & Berger Agathe

Two Seggae singers, victims of the police system in Mauritius.

Arrested for lighting a joint on stage on February 16, 1999
at a rally-concert for the decriminalization of ganja (cannabis),
a concert organized by the Republican Movement
(young political party founded by Rama Valaydem)
the great Creole singer Kaya, nicknamed the Indian Ocean,
creator of Seggae music halfway between sega & reggae,
was found dead on February 21, 1999 in his prison cell in Alcatraz.
Hemorrhage, head injury, traumatic or natural? questioned journalists;
it is "to be confirmed" by these journalists.

Mauritius is an independent state since 1968.
In 1982, Anerood Jugnaut was appointed Prime Minister
& in 1992 the island became a republic.
In 1995, Navin Ramgoolam became Prime Minister.
Cannabis is strongly suppressed.
The simple act of smoking ganja is punishable by imprisonment,
Bail set at 10,000 rupees (2,500 F).

The day of the death of Kaya
riots took place throughout the country.

Berger Agathe, another Seggae singer of the group Ovajaho
Succumbs to about fifteen shots
fired by police.

This is the straw that broke the camel’s back.
The riot at Roche Bois.
In the neighborhood where the artist lived,
the police station is completely trashed.
On the island, they are shooting, throwing stones, molotov cocktails.
Different communities live in Mauritius.
Riots turn into ethnic conflict:
looted shops, attacked Hindu temples, burned plants.
The island is on fire for 48 hours.
For two singers seggae rasta,
for the creator of seggae, singing for peace
justice, harmony between cultures, died,
victims of police brutality.

Inter-ethnic conflict lasts 48 hours
two days that have damaged relations between the different communities.
Faced with an Indian population most often preferred,
Creole find themselves even more destitute
with the disappearance of their spokesman, Kaya.

"Dan ene country kot népli éna control lor police népli éna democracy"
(in a country where the police have every right, there is no democracy)

It is the government's repressive policy
which tends to favor the ethnic conflict.
Marginalizing some communities
government discredits them,
fueling racial hatred.

OFFICIAL VICTIMS OF THE RIOTS

A policeman died of a
cardiac crisis - 2/22/99

Berger Agathe
died by bullets2/22/99

Leemul Goostia, 18 years old
died by bullets - 2/24/99

Michel "Gino" Laurent, 22 years old
died by bullets – 2/24/99

J.P Ravina, 19 years old
died by bullets - 2/25/99

Also, Désiré Francois the singer of Cassiya,
wounded by bullet to thorax.

Human bones, charred,
found in the rubble of a magazine office
destroyed & burned
during these epic days of Kaya’.

 Kaya – Seggae Experience: Best of Kaya, Meli Melo Music BEE 981201CD, 1998.
decryption code in comments

Tracklist –

Simé L’alimière
Mo Lamizik
Ki To Été
Chant L’amour
Racin Pé Brillé
Chant Seggae
Fam Dan Zil
Seggae Man
Lanpir Universel
Ras Kouyon

Beware,

12 June 2013

Réunion




 Réunion is not really an independent nation. It is still a French owned island with a population of about 800,000 located in the Indian Ocean, east of Madagascar, about 120 miles southwest of Mauritius, the nearest island. Réunion is one of the overseas departments of France. Like the other overseas departments, Réunion is also one of the 27 regions of France. It is considered an integral part of the Republic with the same status as those situated on the European mainland. It is the outermost region of the European Union.

Julien ‘Granmoun Lele’ Phileas was born on February 28, 1930 in Saint-Benoît, on the east coast of Réunion Island. Like most people on the island of Réunion, Julien is of mixed ethnicity. His father was a black Malabar-Tamil-Kafir & his mother was an Indian-Bata-Madagascan Creole. He had four brothers & four sisters. He followed his fathers path & got his first job at the Beaufonds "létablisseman" (establishment), a sugar plantation & factory, where he became a day laborer, then a metal worker, & then ‘head cook’ (lead sugar processor). He finally retired at 56 years, 3 months, & a gold watch.


The work of the sugarcane workers was extremely hard & the harsh environment of sugarcane factory never really showed up in their Saturday's pay. They got barely enough for a hand to mouth existence. The little that was left over after living expenses barely covered the purchase of enough rum to continue their ‘kabaré’ party until dawn. The Tamil religion, a variation of Hinduism, exists on Réunion in the form of fire-walking, animal sacrifices, abstinence, & magic. As for the ‘Kaffirs’, they perform rituals of Madagascan or African origin that are called services (sevis malgas or sevis kabarés).


It was during these ‘kabarés’ that Julien began his singing career. He was inspired by his uncle Arsène Madia. He was immediately bitten by the music bug. He saved up his meager pay & bought himself an accordion.


Along with his friend Tonga Lafa, he built up an ever growing following of fans. His style of maloya (a local blues of the once enslaved plantation workers, with a rolling beat similar to the better known sega, a traditional regional dance rhythm). On December 23, 1977, he formed his own troupe , a sort of family affair in which his thirteen children were at one time members (eight still belong). He then records four titles on a 45 which was the first of its kind for a musician from Saint-Pierre. Proclaiming proudly his African roots, Granmoun Lele creates trance music, voodoo trance songs for the spirit. His music is a mixture of traditional influences from Zanzibar, Mozambique, Somalia, Madagascar, & sometimes even of the Congo & Cameroon. But it is deeply & foremost Réunion.

Granmoun Lele, the Great Witchdoctor, the ‘dynamite father’ of the music of Réunion Island is back, at the head of his family group: with boundless energy; his powerful voice; his flamboyant chorus; his explosive drum section; & his inimitable groove. Dances, trances, nostalgia, colors, & emotion…the Maloya of Réunion Island shining like a supernova.

In full Creole, fin vye granmoun means being of advanced years, especially past middle age. It is a term of respect for an elder. It is due to the fact that at afternoon snack time, his mother always used to cry out "Julien, lé lait!" (Julien, the milk!), that he acquired the surname of ‘Lélé’ (lé lait).

After three years of struggle with severe kidney problems, Julien died on November 14, 2004 at the age of seventy-four.

 Granmoun Lélé – Zelvoula, Angouleme:Marabi, 2003. 
decryption code in comments

Tracklist –
Zelvoula
Zav Zav Miné
Sinibalala
L’année 2000 ans
Angalakanou
Massalé
Groovelélé
Zalou
Inéti
Marie Louise
Namouiman
Amélika

Hoodoo? You do. Do what? Remind me of a man.
What man? The man with the power. What power?
The power of hoodoo. Who do? You do. Do what?
Remind me of a man.

11 June 2013

Mayotte






Ahmed ‘Babadi’ Mohamed was originally a native of the tiny island of Comoros. For the last 34 years he has lived & played his music on Mayotte, another island near Comoros. Since he was very young, Babadi was interested in music. He was inspired by his idols Manu Dibango & Alpha Blondy, & so took up a career in reggae.

Babadi came on the scene in 1997 with socially conscious lyrics & a staunch defense of modern M'godro traditional songs of the Comoros. His third album, "Resistance" made him a permanent fixture on the scene Mahoran. His music combines M'godro with a African reggae. It is propelled by an insistent percussion inspired by Central African kwassa, tinted with Seggae Mauritius (seggae is a fusion genre of sega, the traditional music of the Mascarene Islands, & reggae) & filled with lyrical melodies typical of Mahoran.


On his first release, Chigoma Ya Léo, the music lies somewhere between tradition (chigoma or traditional wedding ceremony songs) & modernity (Ya Léo).

On Résistance, the brass instruments, the voices, & the percussion invite us to a festive Mgodro while mixing with the warm rhythms of African reggae music. Babadi’s desire is to contribute to the resistance against political hypocrisy that deceives the people, whether in Mayotte or anywhere else where the negative effects of ‘globalization’ are imposed.

“The situation in society is degrading day after day and the politicians are there, like the cat, to frighten the mouse, in order to quiet their voices and instill submissiveness,” says Babadi, a singer & guitarist of the new generation of African reggae.

decryption code in comments

Tracklist -       

Freedom
Maore
Mr Boina
Coco
Diya
Africa
Chigoma
Fight
Oumani

 Babadi -  Résistance, Tamamuzak, 2000. 
decryption code in comments

Tracklist –

Résistance
Duwa
Sa Devise
Taxi Brousse
Mnafiqui
Maraguissi
Ribanga
Anti-Fachos
Fulani
Nissuriya
Vola Mena
Gourmand
Jah Love

  Babadi – Le Chat et la Souris (The Cat & the Mouse), Tamamuzak 2002.
decryption code in comments

Tracklist –

Comores Unit
Rikiya Ar Ari
Happy Days
Kaya Survive
Reggae Vibration
Ali Baba et les 7 Voleurs
Reggae Aspirine
Tranga
Code Noir
L'Appel
Oeil pour Oeil
Le Chat et la Souris
Mlozi 

Enjoy,





10 June 2013

Comoros

Re-uploaded by request 09/08/2024.
 





Abou Chihabi is a guitarist, folk singer, & songwriter from Grande Comore (Ngazidja), one of the islands which compose the archipelago of the Comoros located in the Indian Ocean, roughly between the East-African coast & the north of Madagascar.

Chihabi immersed himself in music as a youth in the 50s. He launched his musical career in 1968 as a member of the Dragons. The following year, he toured West Africa with the Moroni Music Association. This experience inspired him to form his own group, Folkomore Ocean, upon the tour's conclusion. Chihabi reached his first peak in 1976 when he won a prestigious song contest. The winning tune became the national anthem for the young, recently-independent state of Comoros. His high, however, was short-lived. When, in 1978, a coup d'etat forced the new government to fall, he had to flee the country.


Chihabi's place was nonetheless etched into the history of the islands. He wrote the National Anthem of his country. He was ousted in a coup. He dragged his sadness & anger through the streets of Kenya & Tanzania. He continued to make a name for himself even in exile.

Abou uses his music to fight against social injustice & racial discrimination in Comoros. Abou Chihabi chose to call his group Folkomor Ocean because his main source of inspiration is his native land, the Comoros. As much as his songs are about injustices, hypocrisies, & oppression, they are also about the purity of innocence, the honesty of feelings, & peace, His style is reggae-tinged pan-African music.
 

Abou Chihabi - Folkomor Ocean, Playa Sound PS 65188, 1997.
decryption code in comments

Tracklist –

Upwa Nvubwe Uhoza
Lewo! Lewo!
Sote Ndugu
Tsi Haki
Maesha
Mbio! Mbio!
Maji Ya Limbi Mtsanga
Masiwa
Vura Nkasiya Na Pondro
Mwana Madji
Upepo Do Wani Baliya
 
 

Enjoy,


09 June 2013

Madagascar




Njava is a band from the southern Madagascar’s Antemoto tribe comprised of two sisters & three brothers. When they formed in the late 80s, after Madagascar was able to free itself from the tyranny of military rule ending nearly two decades of isolation, they were an electric band. Since the early 90s they have focused on traditional Malagasy music. Njava brings a modern sensibility to the traditional music of their homeland. They blend fluid guitar melodies, native percussion, & beautiful harmonies in an earthy yet sophisticated mix, striking a fine balance between old & new.

Their debut album, Vetse, was released in 1999. It was produced by influential Japanese producer Makoto Kubota.


On Vetse, the group’s five siblings are: Monique "Monika" Rasoanirina – vocals; Gabrielle "Lala" Raharimahala - vocals & percussion; Theogene "Dozzy" Randriamanpionana - guitar, marovany (a type of steel-string box zither from Madagascar used in Malagasy music), & vocals; Patrick "Pata" Randriamanjava – percussion & vocals; & Maximin "Max" Randriamanjava – bass & vocals.


 Njava – Veste, Hemisphere 99265, 1999. 
decryption code in comments

Tracklist –

Paoary
Hitologn’azy
Jiboty
Hallatsa
Belina
Vezon-Driaky
Taray
Vetse
Lahy Raty
Takaliro Mazava

Enjoy,




Swaziland

All files reuploaded by request 1/24/2024.





Before I post up some music from Swaziland, I have something to say here. After all, this is Nothin' Sez Somethin'.

Swaziland is governed by an absolute monarchy. King Mswati III has ultimate authority over the cabinet, legislature, & judiciary. There is a prime minister & a partially elected parliament, but political power remains largely with the King & his traditional advisors, the most influential of whom is the Queen Mother. International observers concluded that Parliamentary elections held in 2008 did not meet international standards. The 2008 Suppression of Terrorism Act, used to silence dissent & ban certain political organizations, is still in effect.

Human rights problems include: inability of citizens to change their government; extra-judicial killings by security forces; police use of torture, beatings, & excessive force on detainees; police impunity; arbitrary arrests & lengthy pretrial detention; arbitrary interference with privacy & homes; restrictions on freedoms of speech & press along with harassment of journalists; restrictions on freedoms of assembly, association, & movement; prohibitions on political activity & harassment of political activists; discrimination & violence against women; child abuse; human trafficking; societal discrimination against members of the lesbian, gay, bisexual, & transgender (LGBT) community; discrimination against mixed-race & white citizens; harassment of labor leaders; restrictions on worker rights; & child labor.

Because of all the issues mentioned above, many Swaziland musicians & bands have moved to other African nations (in particular, South Africa) or Europe & America. Those who have stayed are under strict scrutiny by the monarchy.

Footnote to absolute monarchy: One of the musical events held annually in Swaziland is the Reed Dance. Tens of thousands of young nubile Swazi virgins dance before the King & he picks out another wife. He currently has twelve wives & twenty-four children. Not a very good example for the citizen of a very impoverished nation.

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%





Mbongiseni 'Bholoja'  Ngubane was born in Swaziland in 1979. He is a very gifted, humble, celebrated young musician. His striking multi-tonal voice & his native lyrical songs has won him great respect at home & abroad. Bholoja is Swaziland's rising symbol of song, art, & culture. His greatest inspiration is Swazi tradition & their way of life, seeking through his songs to ensure that an essential part of Swaziland's cultural heritage does not fall victim to historical neglect. His music responds to the Africa's global changing situation & increasing growth challenges. Bholoja is a spokesperson of the poor, orphaned, AIDS victims, & underprivileged, with a message of hope.

Bholoja's style of music has been labeled Swazi Soul. It is fast gaining popularity in Swaziland & throughout Southern Africa. It is a mixture of various musical types: Afro-pop, traditional African, & soul. His music creates in insightful social narrative, speaking to the very conscience of the listeners. One of his greatest strengths is his power as a lyricist. Most of his songs focus on the social & economic issues that govern people’s daily lives, yet they are always flavored with an infectious sense of humor & optimism.
 


Bholoja was awarded the 2007 Entertainer of the Year Award by Swaziland National Youth Awards.

He recorded this 8-song demo album in Paris in 2007 with the support of the Alliance Francais du Swaziland.

He was appointed a member to the Entertainment Committee of the 40/40 National Double Celebration by His Majesty, King Mswati III, August 2008.
 

 Bholoja – Demos 2008, Alliance Francais du Swaziland, 2008. 

Tracklist –
Fela Khona
Western in Africa
Anikamboni?
Myekeleni
Qhubeka
iTelephone
Bantfwa Bam
Indzawo Yami
 
 
 
 

He recorded his first official release, Swazi Soul, in 2010. 
 

 Bholoja – Swazi Soul, SLCD 191, 2010.


Tracklist –

Indzawo yami
Mbombela  
Ikhonkhotsa ilele   
Zero to Hero   
Ngikhumbula ngisemncane   
African unite   
Iyakhalindvodza
Umkhuleko   
You and I   
Umhlaba Uyahlaba   
Ilawondi
King Somhlolo's Dream
 
  
 
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% 
 
 

The following post is a compilation I threw together of various genres of music: reggae; soul; pop; house; techno; & more that tries to present a general cross-section of sounds currently coming out of Swaziland today. If you hear anything you might really enjoy, try searching out that artist elsewhere.
 



Tracklist –
Cootchie – Stronger
Nomzamo – Lobola
+268 – I Wanna Love
Tiyas – Me & You
Ras Mellow – Wanna Be Free
Nomalungelo – Imiyalo
inGnius Worx-Q – It's Okay
Daddy Rich – Fire Pon Dem
Spirits Indigenous – Betive

Enjoy,



07 June 2013

Lesotho




 
The small landlocked nation of Lesotho is so poor that at one point in the 80s, there was only one television set in the entire country. It was located in a bar. People would stand in line, waiting their turn to watch the set for ten minutes each. There has always been plenty of room for music, however, & every bus had a window seat reserved for the traveling accordion players.
 


Because of the poverty in Lesotho, very few musicians could afford to give up their day jobs to go on tour. Most had to be satisfied with getting paid from occasional recording sessions & release royalties. The shebeens provided an actual living wage to many itinerant accordion players.

In Lesotho, shebeens were an alternative to pubs & bars. Under apartheid, black Africans could not enter a pub or bar reserved for whites. Originally, shebeens were operated illegally, selling homebrewed sorghum beer, palm wine, & home-distilled alcohol. They provided patrons with a place to meet, to discuss political & social issues. Often, patrons & owners were arrested by the police, though the shebeens were usually quickly reopened because of their importance in unifying the community, providing a safe place for discussion. Shebeens also provided music & dancing, allowing patrons to express themselves culturally.

Currently, shebeens are legal & have become an integral part of urban culture. They serve a function similar to juke joints for African Americans in the rural south. They represent a sense of community, identity, and belonging.

Good female singers are well respected & eagerly sought after, being in limited supply. Shebeen owners in Maseru stage paid competitions to find the very best. Puseletso Seema has been the champion for many years. She still is #1.

Puseletso was born in Seteketekeng (Place of [drunken] Staggering), a raucous section of Johannesburg’s Western Area. In the early 1960s, Puseletso & her mother were moved by the apartheid authorities to Orlando East, Soweto. At age twelve, she moved to her grandmother’s in northern Lesotho. The area was unsafe & within a year she was kidnapped into forced marriage (chobeliso) & gave birth to her first child. She escaped her in-laws, but her ‘husband’ tracked her down & impregnated her so that by age fifteen she had two children to care for. She once again escaped, this time to hide out in a shebeen, learning singing & serving drinks. She left her two infants with her mother & set out on her own to pursue a career as singer in Free State & Transvaal.




 

In 1976 she returned to Lesotho, which although completely surrounded by South Africa, had gained their independence in 1966. Globe Style's had a series called Accordions that Shook the World & recorded this LP by Puseletso Seema & Tau ea Linare. Puseletso Seema & the group Tau ea Linare normally work separately but got together in the studio for this LP, a most worthwhile collaboration.




 
This is Afro-highlife with an extra helping of dance groove. Fast bass lines, droning accordion chords, consistent chanting choruses, punchy drums that verge on straight funk. Adding to its contemporary pop sensibilities are the punched up bottom & the fast BPM  from118 up to 155.

He O Oe Oe ! ( Hey o way way ! ). Originally released by Global Style in 1981, re-released in 1985. Long out of print.
 

 Puseletso Seema &Tau ea Linare – He O Oe Oe!, Global Style ORB 003, 1985. 
decryption code in comments

Side 1
1 He o oe oe !
2 Leshano
3 Vatse halenone
4 Ha motsoane
5 Mathabo

Side 2
6 Tsetala Linare
7 Thaba tsepe
8 Katla ka sotleha
9 Bajoetse saki
10 Kesetse mahlomolenu

Enjoy,