OSIBISA ~ "WELCOME HOME"

 

Original released on Gatefold LP Bronze ILPS 9355 
(UK, November 1975)

OSIBISA Debut Album

Original released on LP Decca DL 75285

(US 1971, January 1)

Osibisa's self-titled album opened up their unique blend of African and Western styled music to a wider audience, charting in both the U.S. and Europe. Produced by Tony Visconti, Osibisa's extraordinary merger of African drum beats, colorful rhythms, and rock-inspired keyboard and horn parts give it an expansive sound that infuses countless musical influences. Even the melodies take bits of rhythm & blues and modern rock and affix them to the accompanying percussion beats to come up with a contemporary feel with an avant-garde atmosphere. Tracks such as "Dawn," "Phallus C," and "Oranges" incorporate fragments of traditional jazz and jazz fusion mainly because of the flute and saxophone into their core, but then fashions the result to resemble the band's true heritage. Each song conjures up a certain African mysticism with its stressed rhythms and semi-primordial tempos. The most impressive track, "Music for Gong Gong," became a minor hit in the U.K. thanks to the well- balanced vocal charge and the beauty that's felt in the shingled layers of guitar, organ, and drum work. In both "Ayiko Bia" and "Akwaaba," Osibisa's Ghanian and Nigerian roots come alive through the use of the flute, flugelhorn, and trumpet - not exactly the traditional instruments of West Africa, but they are transformed and molded to take on the band's fundamental sound. What may be the most predominant aspect about Osibisa is that the vast blend of instruments and the playful lyrics inject just enough of a modern element into the album that it's properly kept from being labeled as world music or as new age. (Mike DeGagne in AllMusic)

OSIBISA: "Woyaya"

Original released on LP Decca DL7-5327

(US, 1971)

After an evocative, free-form intro of thunder storm sounds, flute and percussion, “Beautiful Seven” slowly builds-up submerged in the spirit of Africa into  a chanted & spoken word swinging declaration of intentions, ”We’ll give you our treasure-Be Happy!”,  followed by a percussion driven, flute lead Rock-Jazz instrumental, filled with keyboards, guitar and horns. The group’s sound improved  since "Osibisa"  and the circular, built around a pedal tone theme of “Y Sharp” , mixes Chicago like horns, Santana like percussions and backing vocals motifs, wah-patterns and blistering lead guitar, Jazzy electric piano and sax work and a strong dose of Fela Kuti like Afro feel-good vibes flowing to a climaxing finale. The underlying spirituality, shines on the Gospel-ish “Spirits up Above” slow pace intro, they don’t delve too long into, moving to an accelerated piano driven/lead groove, with a muscled percussive power and both sensual and wild guitar work stimulated by the horns, before a short resume of the initial vocal theme. With songwriting credits now shared by more, it’s diversity that wins: “Survival” opening in a tribal mood with percussion and percussive vocalizations by Loughty Amao, before a wordless choir spreads all over an infectious bass pattern driven groove, those singing horn lines the band excels at, an amazing tenor solo and a final a-capella Osibisa chant supported by congas and bongos, the Funky “Move On” preaching a message bolstered by Soulful horns, Jazzy keys and soaring guitar work and “Rabiatu” with an “in-your-face” Afro melody and energy, fuelled by an Earth-shaking bass, Santana like guitar leads and blaring horns before a sudden change allows the groove to re-start slowly building from naked percussions up, into an instrumental climax where Tontoh’s trumpet marks points. Joyful and supporting a “proselytical” message, the title track almost childish melodies are a concession to commercial, instant-pleasing material, and closes the album on a minus note that does not really affect the stunning level of what was accomplished before. (in RateYourMusic)