OSIBISA

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A short time before I bought my first drum kit, a friend and future teacher told me that if I really wanted to learn how to play percussion I needed to buy the self titled debut by OSIBISA because if I could ever be able to follow such complex rhythms I would be able of anything, so I went to the store and got it, I was really impressed, my friend's words were short to describe what OSIBISA (band and album) was.

While he gave extreme value to the rhythm section (which is unbelievable), I focused more in the music as an integrity, this group of African and Caribbean musicians were doing one of the most exquisite forms of Proto Prog blended with Psychedelia, Reggae and a touch of Jazz, simply I was amazed and delighted.

The album starts with the excellent "Dawn", a song that begins with a narration in English with a very hard Afro Caribbean accent describing the band and announcing that this track is somehow the introduction to the band, album and to a new day, in other words this album and OSIBISA's career starts "early one morning in the heart of Africa."

After a short intro of with tribal percussion instruments plus sounds of birds and animals, the strong and accurate double bass by Spartacus R. and Roy Bedeau joins, being soon followed by a very psychedelic organ, all mixed with shouts in some African dialect and when you believe things can't get better, Wendel Richardson's guitar a la Santana adds the perfect touch, but if this is not enough there's still a wonderful flute semi solo with clear Ian Anderson's influence mixed again with words in that strange dialect. Perfect track, it can't get any better, it got so many changes and flow so easily that it can't get closer to Prog.

"Music for Gong Gong" was released one year before as a single and captured the attention of the world, less complex than the previous track but certainly much more rhythmic. In this case the song sounds as Afro Jazz because of the versatile Sax played by Mark Tontoh, but without getting to far from the psychedelic atmosphere created by the organ. The song ends in a chaotic percussion and whistle "madness". Again very solid.

Now it's time for my favorite track "Ayko Bia", even when seems to be the less Progressive/Psychedelic track (Despite the typical organ playing in a more subtle way in the back) presents a very interesting structure and perfect work of the Rhythm section. The song starts as a tribal ceremony more exactly a contest between two vocalists, the second trying to follow the first one word by word and supported by a male chorus, and after this sort of challenge ends starts the same contrapuntist structure but now between the instruments, again the guitar does a complex solo and turn by turn the bass and trumpet repeat it, only that now instead of a chorus the organ is the one that backups the band, and at the end the drums and African percussion have their turn to enter to the contest.

"Akwaaba" is the most melodic track from this album, but all the weight of the song is carried by the winds who do a spectacular work, I'm sure that if Phil Collins would have listened them would never called the Phoenix Horns to help him in ABACAB (Thanks God he apparently ignored the existence of OSIBISA). Then in the most perfect Santana style the guitar and bass create the same melody and only stop to let the organ do it's part..

"Oranges" is again amazing, because this was the first song I would have listened, probably have swear that we're before a Jazz - Fusion band that incorporates African elements, the change is radical, the winds and piano a la Chick Corea replace the Farfisa organ, only a short guitar semi solo heavily supported by a complex percussion work returns us to the musical reality of the early 70's, but after this we must accept this guys were not only excellent musicians but absolutely versatile.

Until this point of the album I was ready to rate it with 5 stars, but it's the turn of "Phallus C", lets remember that almost 50% of the members of OSIBISA were Caribbean from Grenada, Trinidad & Tobago and Antigua, so they had to include some of their local music, which of course is Reggae, which is not bad at all, but it's so simple and close to mainstream that pales in comparison with the unique and incredibly original material of the rest of the album. Again not bad, with another good guitar solo (maybe too long), sand perfect rhythm section but sincerely sounds out of place.

The album is closed with a totally different song named "Think About the People" with lyrics in English but with strong accent, very revolutionary against the pollution and the reality of Central Africa (something very common in the late 60's and early 70's). The structure is always changing, from violent explosions to incredible organ solos and some softer sections, again if this is not at least Proto Prog, I don't know how to describe it, excellent song.

Now and only because of a good song that breaks the atmosphere I don't feel able to rate OSIBISA with 5 stars so I will stay with one less, this is one of the days I wish Prog Archives had half stars because they don't deserve less than 4.5, but there will be time to give a higher rating when reviewing the better (Yes it's possible) Woyaya.

Anyway, it's an absolutely essential album for those who love early Prog and the fusion of different musical cultures.

Never thought you'd find an African group on the ProgArchives, uh? Although based in London, this group's members are all Western Africans (from Ghana, Nigeria and such), and Osibisa's first few records are much worth the inclusion here. A few hints of the progressiveness (outside of the Roger Dean superb artwork sleeve that struck imaginations with those flying predator elephants) are the line-up, the length of the tracks and the production job of Tony Visconti. Leader Teddy Osei on flute, sax, percussions and lead vocals was a formidable showman (and a groundbreaking songwriter), while second man Tonton provides the strong brassy sound of Osibisa and is also writing .

With the real impressive opening track, The Dawn, Osibisa strikes real strong with lengthy intro (warning up about the trip you are about to experience over a farmhouse at dawn), delicious flutes imaginative African rhythms and some psychedelic jazz rock influences and a wee bit of Ian Anderson on flute impersonation around the end of the track. This track will become one of their signature tracks in concert and was played in concert throughout their whole career. Gong Gong is an incredibly infectious groove , developing plenty of brassy answer providing plenty of drama and a superb percussive break, before picking up the groove. Ayiko Bia is probably their most African track, but they managed to hold our attention with a searing Santana-sounding guitar solo (further enhanced by the congas).

Side 2 starting out with Akwaaba (not their best track, and it is a bit overloaded musically speaking) is a bit less impressive, but remains of an excellent caliber. Oranges does regain the superb musicality of the first side, but the enthusiasm remains a bit tamer even if there are some brilliant moments, most notably the jazzy guitar solo. Phallus C is certainly the highlight of this side of the vinyl and making strong groovy statement, and its title leaves little hidden about their intentions regarding the other half of the Human race. The last track does show that they do have something else in mind, though ;-) with its soul-ish vocals, and great Hammond organs.

A stunning debut for Osibisa, certainly a product of its time (the early 70's were THE period, right? ;-), a fascinating run through one of the best example of complete fusion of African, Latino, psychedelic and jazz-rock sounds. Much worth the investigation for just about anyone, especially those having a slight xenophobia also exerting pressure in their musical tastes.

Osibisa is an interesting idea of a reunion of musicians all african descendants, some from Africa and some from Central America. All the musicians are quite skilled and can do a very good sound, rooted on jazz and regional influences. Though I do not like very much the usage of the percussion (maybe because many music in Brazil is made only of percussion), their debut album is good enough, with the aid of a great producer (Tony Visconti).

If the album was in the same level of the first song, it would be a masterpiece, since the 7-minute long The Dawn is a superb song, with excellent musicianship, great organ, guitar and flute and horn playing. The song is the best of the album. The other songs are not that good, being more a jazz rock with latin and african percussion, good musicianship, not excellent solos though. The other songs that are my preferred of this album are Akwabba and Think About the People. Phallus C is great jazzy, but the extended percussion section bores a little. Not that spoils the quality, but could have been better.

In the overall, the album is enjoyable and though it is not a masterpiece it is good, mainly for those who like jazz rock with world music.

I absolutely love this gem from the West African/Caribbean ensemble Osibisa. This, their debut album, features an exciting range of styles, fusing traditional 'World' elements with funk, psychedelic, rock and jazz and really makes for one heck of a listen. Anyone who enjoys dense, complex percussion rhythms is in for a treat. Opening track, 'The Dawn', is one of the best Osibisa tracks I've heard, the crystalline organ tones, flute, a great groove, the jungle noises - everything is in the right place here and it really offers something special. 'Music For Gong-Gong' is a brass heavy arrangement with an excellent progression and groove and some great organ playing. There is also a fine percussive segment toward the end. 'Ayiko Bia' starts out with tribal chanting and is a lengthy, jammy track, showing us a tasteful guitar solo from Wendell Richardson, giving it a psychey edge, a trumpet solo from Mac Tontoh and an even more complex percussion section. With the amazing assortment of percussive 'nik-naks' at hand, the band members 'feel' for the rhythm and their 'timing' is precision.

Second side starts with the funky song 'Akwaaba', some nice electric-piano included in this one, along with more great organ playing, another guitar solo, and various rhythmic patterns through-out. 'Oranges' is almost a 'pop' song, very danceable and up-lifting with brass solos (sax and flugel-horn) and guitar - possibly the simplest track on the album. 'Phallus C' is a psych jam alternating between a great riff in 9/8 and a 4/4 brassy affair - some almost avant-garde sax playing and more of Dell's magical guitaring. A really great track. 'Think About The People' is an excellent song, almost a classic, featuring a nice jazzy interlude followed by another great organ solo. All that, along with a superb Roger Dean gatefold cover really makes this album an excellent addition to your prog collection. I'd give it a 5, but the somewhat formulaic nature of the songs drops it back to a 4.

Osibisa were arguably the first rock band to be called ‘world music’, and the label is certainly appropriate. The band had a brief spot in the limelight with a couple of minor hits in the mid-seventies, but several of the musicians had careers dating back to Ghana in the 1950s. This album was their debut, and from the first track the band made it clear their sound was something completely new on the progressive landscape.

“Dawn” is full of the Caribbean percussion and rhythms that so distinguished the band, but combined with the Roger Dean cover, psychedelic guitars and complex keyboards their overall sound set them apart from pretty much anyone else at the time. Some have claimed that Osibisa were key in paving the way for the emergence of reggae and calypso music in popular culture in the seventies, and there may be some truth to that – the Wailers had been recording in Jamaica since the mid-sixties, and Neil Diamond put out ‘Tap Root Manuscript’ in 1970, but Bob Marley and Bunny Wailer never really hit the international spotlight until shortly after Osibisa paved the way with this album. So who knows really.

“Music for Gong Gong” is in much the same vein as “Dawn”, but here the horn section is even more prominent, and would become even more so after the band stepped away from the more psychedelic sounds in their music later in the decade. But that wouldn’t happen until after “Ayiko Bia”, which features some of the spaciest guitar in the band’s repertoire. “Akwaaba” is more subdued and jazzy, and with “Oranges” the band’s jazz influences shine through even more.

The last couple of tracks seem to lean a bit closer to filler, although “Phallus C” still includes quite a bit of tasty percussion, and “Think About the People” formed the basis for a number of anathematic social-commentaries the band would indulge in over the decade.

I would rate ‘Woyaya’ as the band’s most consistently excellent album, but this debut is certainly strong in its own right, and well worth adding to your collection if you have an ear for ethnic instrumentation, complex percussion, and upbeat progressive music. This is a solid four star effort, and highly recommended.

peace

I recently ran into this Osibisa release in a big pile of neglected records and decided to give it a spin. What a pleasant suprise, apparently I used to listen to this record a lot because so much of it sounded familiar, but what was really nice was that it sounded better than ever. This is some 70s progressive music that has aged very well.

If you are not familiar with early 70s Osibisa then the best way I could describe it would be to imagine a mixture of the progressive horn charts of early Chicago, with the fiery guitar/organ interplay of Santana, all driven by an African percussion section. Osibisa has a lot in common with other early 70s African based progressive groups such as Mandrill, King Sunny Ade, early Earth Wind and Fire and of course Santana. Most of the core members of the original Osibisa came up through the highlife music scene in 60s and 70s Ghana. Highlife is a style somewhat similar to RnB in the states, and its open structure allows for mixing in other influeces such as jazz or rock.

Although many original members were from Ghana, Osibisa came up through the London scene where they took their highlife music and added complex horn charts and multi-sectioned compositional structures which endeared them to much of the jazz leaning progressive rock crowd. Although some of their songs do have complex arrangements, others are fun two chord workouts in the classic Santana tradition.

Although there are other progressive rock bands with an African base, Osibisa has been the band to get the most attention from the traditional progressive rock fan-base. I guess having Roger Dean artwork on your first album cover doesn't hurt.

Some fantastic artwork, this album has. I would love to have that on my wall. The music too is very colourful.

This may be the most unusualalbum I have ever reviewed or even come across. The music is so far away from my standard fare as possible. But it is brilliant to be challenged and to explore new sides of this thing we call life.The music is very much based on rhythm. African Caribeen rhythms that is. Strangely enough, because Osibasa actually came from the exotic city of................. London, England. Contrary to popular belief, this band was not pulled from a dangerous lion hunt and then told to produce an album. This is what I have been told. Anyway; I like Osibasa and I have only respect and admiration for them.

I am used to a more melody based music. This album, their debut album, is entirely a rhythm based album. The drums, congos and other drums are supported by some lively saxophones, various brass, guitars and tangents. The result makes me smile and accept that even something totally alien to me actually is great music. I am not drumming this politically correct hihat drum. I am just saying that my own culture is not superior to the culture on this album. The music here is actually great and I am getting carried away. Not down the road to London, England...... but to a warmer place. Ghana. Africa. And that is a good feeling.

The opening track is excellent. The rest of the album is warm and organic. It is not excactly my style and I like the more prog rock flavoured follow up album Woyaya better than this album. But it is still a good album. This is good stuff. If I only could find a poster with the artwork and put it on my wall.......

3.25 stars