js If you are not familiar with early 70s Osibisa then the best way to describe their music would be to imagine a mixture of the horn charts of early jazz-rock bands like If and 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 and world beat based rock-fusion groups such as Mandrill, Cymande, War 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 the mixing of other influeces such as jazz or rock.

Although many original members were from Ghana, Osibisa later moved to London where they took their highlife music and added modern rockin 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 were other rock bands in the early 70s with an African base, Osibisa was the band to get the most attention from the traditional rock crowd. Having the popular rock artist Roger Dean supply the striking artwork for their first album cover certainly didn't hurt this effort.

Sean Trane Strangely enough, Osibisa waited for some nine studio before releasing their first live album. Recorded at the Royal Albert Hall in the summer of 77, this was a bit of a surprise for everyone since they played sets concentrating on tracks from their early albums (this is good news for progheads, since those are the albums that are of interest for us) and a few from their first two albums for Bronze Records. By this time, Osibisa were definitely more commercial than in their heydays , having scored a huge hit with Sunshine Day, but the track selection of this live album leaves little doubt where their preference lied. This is where you realize how the recording industry and artist integrity do not really coincide often, to say the least. Most of the tracks from the first two albums are faithfully reproduced with the odd concert arrangements (such as the sing-along Woyaya being dragged on a bit) except on one notable shortcut: they skip most of Beautiful Seven once the intro was done to soar in Y Sharp. Fire (from their fifth album Happy Children) shows how funky these Africans could become and is quite a fine jr/f tune. There is also an then-unreleased track on this live album Loving Feeling , which gives you an idea where Osibisa should in terms of sound in 77.

The good thing about this double live album is that it can make an excellent intro to Osibisa for the proghead. The first two albums are the majority and the rest of the tracks are a fair selection of the fifth, sixth and seventh albums - this represents four tracks, including the hit Sunshine Days which has a disco beat, but nothing shameful. A very worthy introduction.

Sean Trane The second album from Osibisa picks up where their stunning debut had left it, and goes a step further. Still produced by Tony Visconti and also doned with a stupendous Roger Dean artwork, there are few minor line-up changes but nothing that changed the band’s superb sound.

Thunder and lightning opens up the first side and the track evolves with a superb flutes and slow African chants, before gradually picking up speed via their infectious conga beats. A constant progression leading to ecstasy, this song is real master strike and probably their peak in their lengthy discography. Coming up next is Y Sharp with its infernal rhythms and Fender Rhodes, and great guitars. Spirits Up Above (a Roland Rashaan Kirk cover) has a slow divinities invocation chants intro and soon develops into a frenzied and transient fast groove. Survival is where these guys really come loose and let their African influences reeling down your brains before the tracks engage is some killer jazz-rock with spine-chilling chants and superb brass section providing the dramatic impact, breaks, counterpoints and a Coltrane-influenced sax solo. I have yet to meet someone that did not fall for these guys.

Move On is almost explanatory, and hovers between Santana and African jazz. Rabiatu is yet another supeb moment where the flute dominates the speedy rhythms and great chants, interrupted by a percussive break when some whistles announces a great crescendo. Up last is the title track, another one of those signature tracks, which they played throughout their whole career.

Although after this stunning album, Osibisa will change musical direction (but gradually so), they will become more commercial but also more downright African at times and will have an international hit in Sunshine Day in 76, but always retain certain integrity until the end of the decade. If you should want to investigate them further, I can only advise you to work chronologically.

Sean Trane 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, Latin, psychedelic and jazz-rock sounds. Much worth the investigation for just about anyone.

js This album is one of those miracles of mid-70s experimentation where everything falls together just right and a perfect hybrid has been created that may never happen again. ‘Superfly T.N.T‘.is equal parts African fusion, groovy 70s progressive rock, experimental psychedelic effects and exotic soundtrack eclecticism that blend together for a constantly unfolding journey in a classic 70s progressive style.

The mood of these songs is upbeat, and the rhythms are polyrhythmic in the style of African fusion. Meanwhile, the melodies are bold and memorable and are often taken through interesting developments in the style of the popular progressive rock bands of the day. Add to all this, excellent solos and extended rhythmic jams that feature a plethora of exotic acoustic and electric instrumentation and you have one of the finest mostly instrumental albums in a decade known for excellent experimental instrumental albums. If you were to try to give this album some musical references, possibly a mix of early 70s groups like Mandrill, Chicago, Santana, Bo Hanson, Camel and Focus, plus Les Baxter and Sun Ra might do. This is an excellent album that does not have a single dull or bad moment. Most Osibissa albums are good, but I have never heard them create on this level before or since.