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. AMG.
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