Francis’s father – legendary highlife musician, Prince Nico Mbarga – served as producer on these two extended workouts, “Ravissante Baby” b/w “Look Up in the Sky,” that feature some of the top French and Cameroonian musicians of the day.
1977 & 1978 LPs, respectively
Young Francis the Great would release one more title – Crazy Tube – before retirement beckoned in 1978.
According to Uwaifo’s own website, “Guitar Boy” is a song that was directly inspired by the bandleader’s encounter one night at a Lagos beach bar with a mermaid — hence, the guitar’s “aqueous” sound. As Jusi I Love helpfully explains, the mermaid (who the singer calls mami wata) told him, “Guitar boy, if you see mami wata, never never you run away”. This larger-than-life tale has also been immortalized with a “sculptural representation of the mermaid and his guitar, constructed in a pool at Uwaifo’s Revelation Tourist Palazzo in Benin City.” Don’t Stay Up Late would commemorate the singer and song thusly:
Uwaifo’s biography also informs us that, as a result of the popularity of his songs, a Ghanaian fabric was nicknamed “Joromi” (a song based on the story of a legendary hero in Benin history, as well as the name of Uwaifo’s own style of Highlife music), while “Guitar Boy” was used as a code name for a military coup in Ghana in the 1970s.
Uwaifo invented this double-neck “magic guitar” with 18 strings that can Be “rotated 360 degrees at the speed of sound”
Comb & Razor provides very interesting biographical details and music history here.
Present-day Sir Victor Uwaifo, I’m happy to report, is a vital web presence — be sure to check out all the tributes from heads of state, dignitaries, and government officials.
Is it really true what Wikipedia says about Miriam Makeba – that she’s the “first artist from Africa to popularize African music around the world”? Given that Makeba released her first U.S. album in 1960, one can only conclude that African pop, essentially, had no American distribution links until “the Year of Africa” (as 1960 is also known, due to significant events — “particularly the independence of seventeen African nations — that focused global attention on the continent and intensified feelings of Pan-Africanism” (Wiki).
Makeba would record “Click Song” on 1960 RCA album, Miriam Makeba, while former husband, Hugh Masekela, would likewise record the song on his first US release, 1962’s Trumpet Africaine on Mercury. Makeba would also record “Click Song” while briefly under contract to Mercury in 1966 and then revisit the song on 1967’s Pata Pata, her first of several albums for Reprise:
South African-born Makeba sings this song in Xhosa, the famously percussive tongue that her father spoke. Seven years later, Makeba would perform this song at the Zaire ’74 three-day music festival that accompanied the epic boxing match between Muhammad Ali and George Foreman for the heavyweight championship crown.
1968 single released in spain 1972 single released in the netherlands
1968 Netherlands 45
“Click Song” also saw release on 1965 LP, Jimmy Come Lately, by Four Jacks and a Jill, South African folk-popsters who would later hit the American Top 20 on March 30, 1968 with their abstrusely catchy single, “Master Jack” [but wait – in an oddly curious twist: RCA, in 1969, would release a 45 solely for the New Zealand market with hit single, “Master Jack” as the B-side and “Click Song” as the A-side].
Cher Speaks Xhosa
Would you be stunned to learn that Cher would record her own version of “Click Song #1” for 1968’s Backstage, her last album for Liberty? Also released as the A-side of a 45.
What a revelation it must have been in the early 1960s when folks first encountered the clear, ringing tone of Hank Marvin’s Stratocaster on such soaring guitar instrumentals as “Mustang,” “Kon Tiki,” “Spring Is Nearly Here,” and “Thunderbirds Theme.”
Who else was getting that kind of sound out of an electric guitar at that time? Answer: nobody.
Of course, it wasn’t Hank Marvin alone but the sound of the group – the strummed acoustic guitars, for instance, that command your attention in the opening of “Apache” – that made The Shadows, along with The Ventures, the two leading lights of the 1960s instrumental scene.
A great example of The Shadows’ group chemistry at work is “Zambesi” from 1964’s original 14-track release, Dance with the Shadows:
How fun to see the bass player picking off an exquisite little solo run at one point in the arrangement. “Zambesi” – the final track of a 4-song Dance with the Shadows EP released in UK and Australia – was originally written by Nicolaas Cornelius Carstens, a South African accordionist and songwriter [click here for the original version].
Interesting to discover that Columbia also released “Zambesi” as a single, but where – in South Africa, perhaps? It is unclear — this UK singles discography, for instance, does not show a 7-inch release for “Zambesi.”
How predictable, and no less disheartening, to learn that the US version of the original UK EMI album, Dance with the Shadows, is shorn of a couple tracks. Atlantic would release a 12-track version of the album in 1964 and re-title it, The Shadows Know!!! (get it?)
Check out Hank’s guitar sound on 1962’s “Wonderful Land” – Dutch TV