Filed under: Ethiopia
♬ Tezeta
Five years ago, I decided to purchase the domain radiodiffusion.net after my old site got mentioned on Boing Boing and crashed from the traffic. I had no idea what I was getting myself into. A good friend of mine even tried to talk me out of it. But here we are, and I still am pretty clueless as to what I am doing or where I am going with this unruly beast of a site. What started out as a little web page for a handful of friends, now gets about 400 to 500 hits a day.
The original intent, or should I say the inspiration, was just that there were practically no web sites out there where you could hear this stuff. And it seemed like the few that did exist, only used RealPlayer – and who wants that headache? I started this because there were, and still are, hundreds of records that I just wanted to hear. I didn’t need to hear the whole thing – just enough to get an idea of whether or not it was worth tracking down.
At the time, there were only a handful of compilations and reissues available. There was nothing from Iran. Since then, there’s a whole label dedicated to music from that time period as well as a few other great compilations. Angola, Burma, Iraq, Pakistan and Vietnam were all completely off the radar. Now those countries’ – as well as many others’ – musical histories have been unearthed and are now readily available to be heard. This – plus the many other amazing music sites that have sprouted up since – has turned many fellow music fiends into collectors, seeking out these records.
But what else is there to say that has not already been written about Ethiopian Jazz or Khmer Pop? And more eloquently than my own ramblings, I might add. Both of those countries have compilation series whose volumes number up into the twenty some odds now. Or how about Thailand? How may compilations have been issued? I can name at least fourteen just off the top of my head. Add in the mind boggling Monrakplengthai, and you pretty much have what seems like the entire recorded history of that country. And Turkey? Nigeria? Indonesia? Benin? It goes on and on.
Unfortunately, one thing has become clear – Radiodiffusion Internasionaal can not continue on as it has. I’ve painted myself into a corner, metaphorically. I mean, there are plenty of records – and cassettes – that are left to post. But the ones that I really want to write about, I have not been able to get my hands on. So, I have been tying to figure out how to take this site in a slightly different direction. I just have not figured out what that direction is… Yet.
In the meantime, got any suggestions?
For information on Menelik Wossenachew, please see the previous posting HERE.
Catalog Number AE 350 on Amha Records of Addis Ababa, Ethiopia. Released 1972.
Filed under: Burma
♬ Salt Bottle and The Three Mangosteens [side one]
♬ Salt Bottle and The Three Mangosteens [side two]
When most people think of radio dramas, black and white images of families sitting around a huge old radio come to mind. In regions were televisions were not readily available and movie theaters were few and far between, these programs were the main source of entertainment – outside of music. But whereas their production here in the States has just about become non-existent, they still are produced in many other countries across the globe to this day.
In Burma, one of the most popular characters was, and still is, detective “SarPalin” Hnin Maung – who was created by Min Thain Kha. The detective was given the nickname “SarPalin” – meaning “Salt Bottle” – because it was essential that he be assigned to every case to solve as salt is essential to every dish to make it taste right. The character has been featured not only in radio dramas, but also in books and at least one film.
Many thanks to Ni Ni Aye for the information and translation.
Catalog number and label unknown.
Warning: These tracks have been converted to mono to reduce the file size, but are still quite large and may take some time to download.
Filed under: Pakistan
“Why do you like this stuff?”
“How did you find out about this?”
“Why do you care?”
I get asked those questions all the time. Just about every musician from Pakistan that I corresponded with over the last few yeas has asked that.
I have always been a big fan of instrumental guitar music. I took – um, I mean borrowed - my mother’s Ventures records when I went away to college. When you add in the cultural influences in Pakistan – being situated between Afghanistan, India and Iran – you end up with a sound that was, and still is, unlike anything heard anywhere else on the planet.
But I had no idea any of this even existed a few years ago, not until I got a CD-R from a guy named Henri in Holland. On that disc, were three of the four tracks from The Panthers‘ Folk Tunes of Pakistan on Electric Sitar and Western Instruments e.p. Not too much later, I stumbled upon 4 Folk Tunes of Pakistan by The Fore Thoughts. By about the time I got my paws on The Mods‘ Folk Instrumentals of Pakistan, I knew I was on to something. But I am sure you are wondering – Why folk tunes? I never did get an answer to that one…
Very little is known about The Aay Jays. This single was the band’s only release. The band was featured on the first two volumes of Pakistan International Airlines‘ In Flight Music series, the second of which included the song “Balley Balley”, which was does not appear on this single. The Aay Jays – as well as The Abstracts, The Blue Birds, The Bugs, The Fore Thoughts, The Mods and The Panthers, Nisar Bazmi and Sohail Rana – are featured on Sublime Frequencies‘ latest release: Pakistan ⋆ Folk and Pop Instrumentals 1966 – 1976. The double gatefold LP features 22 tracks, sourced straight from the original EMI Pakistan masters. For information on the record release party, you can go HERE.
Many thanks to Marthy Coumans for the vinyl transfer and cover scan of this single.
Catalog number EKCE 20023 on EMI Pakistan, released 1973.
Filed under: Iran
♬ گل مریم
Giti Pashaei (گیتی پاشایی ) was born on June 13, 1948 in Tehran, Iran. She apparently inherited her passion for music from her grandfather, Jafar Mansoori, who was a well known poet and musician. Her early life was spent attending the master-classes of such musicians as Faramarz Paywar, Mahdi Foroogh and Mahmoud Karimi. Giti continued her education in New York, where she earned a degree in architecture from CUNY. She also studied “orchestration and harmony” while in Seattle, Washington.
Giti would go on to become one of the most popular Iranian singers. Her biggest hit was the song “گل مریم” – “Gol-e Maryam” or “Maryam Flower” – which was released in 1971. But the Iranian Revolution put an end to her singing career in 1979, since women were now forbidden to sing in public. She made the transition to composer, and scored soundtracks for a number of Iranian movies – many of which were directed by her husband, Masoud Kimiai. She also acted in a handful of films as well. In the late 1980s she moved to Hamburg, Germany where she researched Western Religion and Baroque Music. After moving back to Tehran, Giti died of cancer on May, 7th of 1995. She was buried at Behesht-e Zahra.
Thanks to Ramin and Jesse Kaminsky for helping with the translation and information.
Catalog number ۱۵٢٧٧۴ on Apolon of Iran, released 1971.
Filed under: Côte d'Ivoire
♬ Vla
One of West Africa‘s first recording studios, as well as first record pressing plants, was established in Côte d’Ivoire‘s capital city of Abidjan in the early 1970s. Abidjan quickly became West Africa’s musical hub, with musicians coming from all over the region to record. Côte d’Ivoire had always been receptive to musical styles from outside its borders, as well as being a melting pot of peoples and cultures. Since the country did not go through a war for independence like many other West African nations, the local musicians did not have the same national awakening of pride – which in other countries led to the mix of traditional indigenous music and more urban sounds born out of revolutionary defiance. As a result Côte d’Ivoire did not really develop an internationally recognized signature style of music. But that all changed once Amédée Pierre came along.
Vital Nahounou Digbeu Amédée was born on March 30, 1937 to Pierre and Wassa Nahounou Doudou Séry Bitta in the town of Tabou in south-western Côte d’Ivoire. He was christened Pierre after we was baptized Catholic. The first recorded history of him playing is in an account by René Babi, who wrote: “Ce jeune homme qui ne se séparait jamais de sa guitare, allait agréablement surprendre les couche-tard d’un soir de l’année 1958″ – which translates as “This young man who never parted with his guitar, was a pleasant surprise the night owls for an evening of the year 1958.” On August 7th of 1960, Amédée Pierre performed his first concert with his backing band l’ Ivoiro Star at Avenue 3 in Treichville, a neighborhood of Abidjan. Having sung French variety tunes for several years, Pierre decided to rebel against the former colonial power and started composing in the Bété language.
Amédée Pierre became known as “Le Dopé National” – or “The National Nightingale”. He recorded at least 19 singles for the Ivoirienne Safie Deen label, as well as three singles for the Société Ivoirienne du Disque label. He was also featured on the second volume of Antilles Records‘ Assalam Aleikoum Africa series and another compilation called Ivoire Retro. His backing band – l’ Ivoiro Star – also recorded singles for Société Ivoirienne du Disque with singers Armand Pascal Lido and Martial Droubly. One song by of each can be found on the first volume of Assalam Aleikoum Africa. More recently, three tracks were included on Syllart Records‘ African Pearls Vol. 5: Côte D’Ivoire: West African Crossroads. In 2000 he was decorated by Mr. Laurent Gbagbo, President of the Republic of Côte d’Ivoire.
Catalog number NAP.004 on NAP. No further information about this single, or the label that released it, is available.
Filed under: Hong Kong
♬ 一吻定情
♬ 偸心的人
Wait. Where was I? Oh yeah… I was going to make some kind of tenuous connection between studio musicians and elevator music and tie in the fact that I just started reading Joseph Lanza’s “Elevator Music: A Surreal History of Muzak, Easy-Listening, and Other Moodsong” (Which, so far, is much more entertaining than the last book I read: Simon Reynolds’ “Rip It Up and Start Again: Postpunk 1978-1984” [Spoiler Alert: Gang of Four were apparently responsible for everything] and way more enjoyable than anything by the coma inducing Peter Manuel¹ {Sorry to wander off in to Rev. Nørb territory here… (And yes, I do realize that 98% of the people who are reading this will not get that reference [And for that 2% of you who were reading MMR in the early 90s - Huzzah and kudos to you.].).}.). But instead, you get this:
Moon Stars were – like their label mates The New Wave – most likely a studio creation of their record label – New Wave Recording Company. If you have any further information, please contact me or leave a comment.
Catalog number NWLP 9, released by the New Wave Recording Company of Hong Kong. No other information available.
¹ Please see Mack Hagood’s comment regarding Peter Manuel below.
Filed under: Algeria
Recently, I was asked: With all of the compilations and blogs out there, do you think that you will run out of music to find? The short answer is ‘Yes’. As it stands now, it is getting more and more difficult. There are only a finite number of records from that time period that were pressed. But what that number is, nobody really knows.
A good example is the Bollywood Steel records. When I put together the compilation for Sublime Frequencies, I thought I had found pretty much all there was to find. I knew that I was missing a record or two, but I think at the time I had maybe 25-30 records. Since then I’ve found at least 60 more – and counting. I bought three yesterday!
Another thing to consider, is that as collectors – I mean archivists – accumulate these records, they hear stuff outside of their original focus. In the process of searching for Thai Beat records, people have stumbled onto Shadow Music, Molam, Luk Thung and the many other wonderful mutations from Thailand. So the number of records out there is not exactly static.
But as more and more folks get clued into these recordings, there are now more people hunting down the original vinyl. And it has gotten quite competitive. When I started this site, there were only a dozen or two compilations and maybe a handful of websites. Now? I cannot even keep track of what’s become available.
The good news is that we are probably going to get to hear those records… Eventually.
Both of these songs were featured on the first volume of the Waking Up Scheherazade compilations. For further information on Les Abranis, as they were to be known after this single – which was their first, please check out the previous post.
Catalog number 11102 on Oasis Disques of Paris, France, released 1973.
Filed under: Sierra Leone
The late 60s were a tumultuous time in Sierra Leone. In the span of two years, there had been three military coups. In 1968, Siaka Stevens assumed power as the Prime Minister, and after the country declared itself a Republic, became the President. During his rule, he was criticized for dictatorial methods of government in which many of his political opponents were executed, as well as for mismanaging the economy. On a positive note, he reduced the ethnic polarization in the government by incorporating members of various ethnic groups into the government.
Sierra Leone’s music is a mixture of native and Colonial influences. A local version of Palm Wine Music – known as Maringa – evolved after Portuguese sailors introduced guitars to the region. Another key ingredient, was the influx of freed slaves that had come from the Caribbean and bringing new music styles from that region – especially Calypso music from Trinidad. During the 1970s, Sierra Leone was not left out of the electric Afropop explosion that was sweeping Africa. The result was a mix of Maringa blended with Funk, Soul, and Congolese Rumba.
I have not been able to find hardly anything on the Afronational Band – also seen as “Afro-National” and “Afro National”. They are mentioned in just about every article on music from Sierra Leone, but beyond that there is not much to go on. If you have any information, please get in touch or leave comment.
Catalog number AFRO 14A / 14B on Afronational of Freetown, Sierra Leone. No release date listed.
Filed under: Singapore
A good friend of mine gives me a lot of grief for posting Christmas music on the site. Besides the fact that he does not care for Christmas music, he says that he think people from “countries outside the US have no idea how Americans celebrate Christmas. They tend to not realize Christmas music is for shoppers at malls.” And for the most part, I have to agree with him there.
At the same time, I find it very odd that musicians from countries where Christianity is not the majority would choose to record these songs. Then again, if you look in the news as of late, you’ll see that the ‘most expensive Christmas tree ever‘ is in Adu Dhabi and that people are starting to celebrate Christmas in China… The religion of Consumerism – and it’s soundtrack – is the gift that keeps on giving.
I have not been able to find anything about The Impossible – who are not to be confused with The Impossibles of Thailand. If you have any information about the band, please get in touch or leave a comment.
Catalog number SMR 111 on Sima Records of Singapore. No further information available.
Filed under: India
When most people think of the Pop music of India, they think of filmi – the music of India’s film industry. But there were a few other options – albeit a very small. There was a Jazz scene in Goa in the 50s and 60s. There were also a number of garage bands around the country like the The Mustangs, The Tremolos and many more who were featured on the Simla Beat compilations that were released in 1970 and 71. And then there were others – like Runa Laila (who was actually from Bangladesh), Nazia Hassan (who was from Pakistan) and Usha Uthup.
Usha Iyer was born November 8, 1947 in Madras (now Chennai), which is the capitol of the Indian State of Tamil Nadu. Her father Sami Iyer, later became the police commissioner of Bombay (now Mumbai). She has three sisters Uma Pocha, Indira Srinivasan and Maya Sami, all of whom are singers and two brothers, one of whom is named Shyam.
Usha’s first public singing occurred when she was nine. Her sisters introduced her to Ameen Sayani, who gave her an opportunity to sing on the Ovaltine Music Hour on Radio Ceylon. She sang a number called “Mockingbird Hill”. Uthup started singing in a small nightclub in Chennai called Nine Gems, when she was 20. Her performance was so well received that the owner of the nightclub asked her to stay on for a week. From there, she went to Calcutta (now Kolkata). It was there that she met her husband Uthup. Usha then went to Delhi, where she sang at the Oberoi Hotel. By coincidence, a film crew belonging to Navketan unit including Shashi Kapoor visited the nightclub and they offered her a chance to sing movie playback. As a result, she started her Bollywood career with Hare Rama Hare Krishna. Originally, she was supposed to sing “Dum Maro Dum” along with Asha Bhosle. However, as a result of internal politicking on the part of other singers, she lost that chance but ended up singing an English verse.
In 1968, she recorded covers of two pop songs in English, “Jambalaya” and The Kingston Trio‘s “Greenback Dollar”, on an EP, which she followed with the album Scotch and Soda. Her backing band on half of that album was called The Flintstones, who she also recorded a double single. Around this time, she often traveled to London. She was a frequent visitor to Vernon Corea‘s BBC office in London and was interviewed on “London Sounds Eastern” on BBC Radio London. Usha visited Nairobi as part of an Indian Festival. Singing in Swahili made her extremely popular, and President Jomo Kenyatta made her an Honorary Citizen of Kenya. She produced a record Live in Nairobi with a local band Fellini Five.
You can find two more tracks off this record over at Waxidermy.
Catalog number S/EMGE 21010 on EMI of India, manufactured & distributed by The Gramophone Company of India Limited in 1975.
