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Antoine Dougbé et L'Orchestre Poly-Rythmo De Cotonou – 1977 - 1982 [2xLP IMPORT] – New LPAntoine Dougb The Devils Prime Minister Antoine Dougb et L'Orchestre Poly Rythmo De Cotonou 1977 1982 (Analog Africa No. 44) by Analog Africa< a> While I'm far from some expert on West African music, I tend to look for the stuff that locks into the fast forward propulsive (which describes a huge percentage of African
Antoine Dougbé – The Devil’s Prime Minister
While I'm far from some expert on West African music, I tend to look for the stuff that locks into the fast-forward propulsive (which describes a huge percentage of African music...and without that, I'm not sure where we'd be right now, probably not talking to you because African music carried a direct link to folks like James Brown and Bo Diddley and so many other Black artists of that era and earlier...from Memphis, New Orleans, the West Indies.. and the link between Bo Diddley and nearly everyone I love is strong, from Buddy Holly to The Who to The Stooges and thousands of others. But I don't grab every African record I come across, tend to go for the stuff that offers the strong propulsion along with something unique, and this offering certainly offers those two things. Afrobeat (at least the stuff I've heard) is mostly West African, but also shows some influences from Black music of the United States, and while in the 1960s those influences included James Brown, Stax, Isley Brothers, Motown and Sly Stone, this recording is from the late 1970s and early 1980s and the influences are really interesting and sometimes hard to accurately dissect. While disco was showing up a lot in African music by this point, and this does have cool dated synthesizers that connect some of the selections with the disco era (especially as this set progresses), this mostly seems to go back to the 1960s (and earlier) for influences, perhaps even showing some psych Baroque influences on some cuts (but that might be just the cool fuzz guitar and synthesizers blending with the West Indies percussion), definitely showing Latin-American influences, pulling in the Afro-Cuban (to complicate matters, some of those influences were clearly heavily influenced by African music)...maybe some sprinkling of psychedelic, freak-out and acid rock influences (most might use those descriptors synonymously, but I tend to think of them separately). The beauty is that these influences don't distract, but are pulled into the propulsive, sparking like gun powder sprinkled into the fire burning, tossed into the fuel to spark the locomotion, the sounds wrapped up into the groove. Jump up and kick your feet or kick back and flip your wig to the sounds of Antoine Dougbé et L'Orchestre Poly-Rythmo De Cotonou – 1977 - 1982. -- winch
While I'm far from some expert on West African music, I tend to look for the stuff that locks into the fast-forward propulsive (which describes a huge percentage of African music...and without that, I'm not sure where we'd be right now, probably not talking to you because African music carried a direct link to folks like James Brown and Bo Diddley and so many other Black artists of that era and earlier...from Memphis, New Orleans, the West Indies.. and the link between Bo Diddley and nearly everyone I love is strong, from Buddy Holly to The Who to The Stooges and thousands of others. But I don't grab every African record I come across, tend to go for the stuff that offers the strong propulsion along with something unique, and this offering certainly offers those two things. Afrobeat (at least the stuff I've heard) is mostly West African, but also shows some influences from Black music of the United States, and while in the 1960s those influences included James Brown, Stax, Isley Brothers, Motown and Sly Stone, this recording is from the late 1970s and early 1980s and the influences are really interesting and sometimes hard to accurately dissect. While disco was showing up a lot in African music by this point, and this does have cool dated synthesizers that connect some of the selections with the disco era (especially as this set progresses), this mostly seems to go back to the 1960s (and earlier) for influences, perhaps even showing some psych Baroque influences on some cuts (but that might be just the cool fuzz guitar and synthesizers blending with the West Indies percussion), definitely showing Latin-American influences, pulling in the Afro-Cuban (to complicate matters, some of those influences were clearly heavily influenced by African music)...maybe some sprinkling of psychedelic, freak-out and acid rock influences (most might use those descriptors synonymously, but I tend to think of them separately). The beauty is that these influences don't distract, but are pulled into the propulsive, sparking like gun powder sprinkled into the fire burning, tossed into the fuel to spark the locomotion, the sounds wrapped up into the groove. Jump up and kick your feet or kick back and flip your wig to the sounds of Antoine Dougbé et L'Orchestre Poly-Rythmo De Cotonou – 1977 - 1982. -- winch
Who was Antoine Dougbé? Even the most dedicated crate-digger might go their whole life without stumbling across any of the three LPs he released in the late 1970s and early ’80s. Yet all the musicians who happened to cross paths with him remember him with a mixture of admiration and fear; for Antoine Dougbé was not merely one of the most inventive songwriters to emerge from the fertile music scene of Cotonou, but also a powerful Vodún initiate whose close connection to the spirit world allowed him to refer to himself as “the Devil’s prime minister.”
As a young man he moved from Abomey to Cotonou, a city that had established itself as one of the centres of the West African music scene. There he encountered most of the popular styles of African and Latin music and, like many of his generation, found himself drawn to Cuban son and rumba. Although he was particularly attracted to Congolese rhythms, it was his fascination with the traditional rhythms of Benin—especially those associated with Vodún ceremonies—that allowed Dougbé to take his music in directions far removed from anything happening in the Congo.
Early in his career, Dougbé was known for intimidating and threatening musicians if they didn’t play to his liking, and when the time came to find a band willing to record with him, he struggled. But according to Mélomé Clément, founder of the mighty Orchestre Poly-Rythmo de Cotonou, Dougbé posed no problem for them, since the band’s drummer, Yehouessi Leopold, and bassist, Bentho Gustave, were themselves initiated into Vodún and Dougbé never dared to challenge them.
Dougbé was unique among the band’s external collaborators in that he neither sang nor performed any of the main instrumental parts. It has been suggested that his involvement with Vodún—in which singing plays a crucial role in important rituals—effectively prohibited him from using his voice for anything as frivolous as a popular song. Instead he provided his songs to Melome Clément, who arranged them for the band; most of the vocals were handled by Lohento Eskill and Amoussou William.
Whether driven by the thrill of the music or by fear of crossing the Devil’s prime minister, Dougbé’s records all feature Orchestre Poly-Rythmo playing at the absolute height of their considerable powers.
Dougbé released three LPs and a handful of singles under his own name, the first, which appeared in 1977 on Disques Tropiques. And although Dougbé achieved moderate success with the early single “Nounignon Ma Kpon Midji”, his other records never quite found the audience they deserved, and by the early eighties he had vanished from the music scene.
Illness struck in 1992, prompting a move to Parakou in northern Benin, where he lived and worked for four more years. Antoine Dougbé died of cirrhosis of the liver on 20 September 1996, while on holiday in his former home of Cotonou—leaving behind a small but extraordinary body of work, and a legacy still wrapped in mystery.
As a young man he moved from Abomey to Cotonou, a city that had established itself as one of the centres of the West African music scene. There he encountered most of the popular styles of African and Latin music and, like many of his generation, found himself drawn to Cuban son and rumba. Although he was particularly attracted to Congolese rhythms, it was his fascination with the traditional rhythms of Benin—especially those associated with Vodún ceremonies—that allowed Dougbé to take his music in directions far removed from anything happening in the Congo.
Early in his career, Dougbé was known for intimidating and threatening musicians if they didn’t play to his liking, and when the time came to find a band willing to record with him, he struggled. But according to Mélomé Clément, founder of the mighty Orchestre Poly-Rythmo de Cotonou, Dougbé posed no problem for them, since the band’s drummer, Yehouessi Leopold, and bassist, Bentho Gustave, were themselves initiated into Vodún and Dougbé never dared to challenge them.
Dougbé was unique among the band’s external collaborators in that he neither sang nor performed any of the main instrumental parts. It has been suggested that his involvement with Vodún—in which singing plays a crucial role in important rituals—effectively prohibited him from using his voice for anything as frivolous as a popular song. Instead he provided his songs to Melome Clément, who arranged them for the band; most of the vocals were handled by Lohento Eskill and Amoussou William.
Whether driven by the thrill of the music or by fear of crossing the Devil’s prime minister, Dougbé’s records all feature Orchestre Poly-Rythmo playing at the absolute height of their considerable powers.
Dougbé released three LPs and a handful of singles under his own name, the first, which appeared in 1977 on Disques Tropiques. And although Dougbé achieved moderate success with the early single “Nounignon Ma Kpon Midji”, his other records never quite found the audience they deserved, and by the early eighties he had vanished from the music scene.
Illness struck in 1992, prompting a move to Parakou in northern Benin, where he lived and worked for four more years. Antoine Dougbé died of cirrhosis of the liver on 20 September 1996, while on holiday in his former home of Cotonou—leaving behind a small but extraordinary body of work, and a legacy still wrapped in mystery.
released 2026
Graphic Design: Mzk & Yacine Blaeich
Mastering: Nick Robbins (Soundmastering)
Text Editing: Jesse Simon
Special thanks to: Lokonon André, Akpanon Hypolite and to the Dougbé family: Brigitte, Marianne, Marcel Jr, Sebastien, Odette, Sylvie, Valere and Marcel Dougbé.
Graphic Design: Mzk & Yacine Blaeich
Mastering: Nick Robbins (Soundmastering)
Text Editing: Jesse Simon
Special thanks to: Lokonon André, Akpanon Hypolite and to the Dougbé family: Brigitte, Marianne, Marcel Jr, Sebastien, Odette, Sylvie, Valere and Marcel Dougbé.
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4.6 ★★★★★
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★★★★★ 5
What they Didn't Teach You in Sunday School
Format: Paperback
Often when reading through the Bible, whether one does so for religious reasons or not, we miss details in the background. Or we do not take into consideration cultural context while interpreting passages. Sometimes, due to difficulties in translating ancient languages into modern ones, some things are literally lost in translation. In this volume, where Godawa collects material he has previously published into one volume, he examines many of these issues. In particular, he focuses on topics that have long mystified people and been the subject of much conjecture and fictionalization: Nephilim, Watchers and giants. He also takes a close look at verses that may have had supernatural elements inadvertently scrubbed: The strange ariel creatures in 2 Samuel 23:20 translated instead into men, or the demons and goblins of Isaiah 13:21-22 written off as wild animals, etc. Clues to a different ancient world than usually supposed?
The only misstep is his adherence to the John Walton ANE interpretation. This is based on superficial interpretation, and worse history (e.g. the whole ANE "dome" interpretation of creation is largely mythical). Walton's books haves done a huge disservice in undermining biblical inerrancy. See Hugh Ross' Rescuing Inerrancy for more on Walton and others who aren't too good at biblical study.
There's a lot of food for thought in these pages. For more, see
and
.
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Reviewed in the United States on September 1, 2018
★★★★★ 5
Great supplement to Bible study
Format: Paperback
Stimulating reading for science-minded and biblically minded readers. The author who wrote this book has a lot to say about some of the strange images we read about in the Bible. Giants, flying reptiles, satyrs, fauns, denizens, angels, demons, etc. Once I read this, I began realizing that much of the strange things we see in the world outside the Bible are about as realistic as some of these images mentioned in the Bible. The battle between our minds and our souls carries on.
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Reviewed in the United States on July 26, 2024
★★★★★ 3
Informational but not what I expected.
Format: Paperback
The facts as they relate to the bible and some other scripts are good, but it would have been better if they were backed up with scientific facts and Egyptian findings. This would have given a broader and more open-minded big picture. I was disappointed overall.
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Reviewed in the United States on May 25, 2021
★★★★★ 5
My brain needed this book.
Format: Paperback
What a refreshing cup of water to a thirsty mind! I'm so glad I stumbled across this book and this author, Brian Godawa. I was beginning to think I was the only person on earth who had questions about traditional Christianity versus ancient cultures as well as other mysteries on our earth, and this book has made some links and clarifications on some fascinating subjects that aren't dealt with much in the modern church. It didn't matter that this book is a compilation of appendices based on his research for one of his fiction series. It read, easily, as a non-fiction book and I appreciated how the author used facts based off of biblical and other ancient documents in a rather logical way, with limited conjecture and emotion. I tried absorbing the information in this book as quickly as possible, and already have admired and desired the author's other utterly fascinating book offers. Thank you, Mr. Godawa, for your seeming unrelentless pursuit of truth! I stand with you.
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Reviewed in the United States on April 25, 2021
★★★★★ 5
I own the Canadian copy:
Format: Kindle
This is a captivating and thought-provoking book that dares to explore the uncharted spiritual terrain of the afterlife. Authored with a profound sense of reverence, this book serves as a unique bridge between the iconic voice of John Lennon and the modern reader, yearning for deeper insights into love, life, and the essence of humanity. The narrative is brilliantly crafted, seamlessly blending the ethereal with the tangible. The idea of John Lennon sharing his reflections from Heaven is not just compelling but also deeply moving. The authors have managed to channel Lennon’s timeless philosophy of love, peace, and unity in a way that feels authentic and true to his spirit.
What makes this book truly stand out is its ability to inspire readers to reevaluate their own lives. Lennon’s "heavenly" wisdom challenges us to let go of fear, embrace forgiveness, and lead lives that resonate with harmony and love. It’s a powerful reminder of Lennon’s enduring message and the impact it continues to have on our world. For fans of John Lennon and the Beatles, as well as those curious about the mysteries of life beyond, this book is a treasure trove. It’s not just a read; it’s an experience—a spiritual odyssey that lingers long after the final page is turned.
Whether you're a die-hard Lennon enthusiast or someone simply seeking inspiration, All You Need is Love offers a glimpse into the eternal legacy of one of the greatest icons of our time.
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Reviewed in the United States on December 6, 2024