Belle epoque in upper volta
![belle epoque in upper volta belle epoque in upper volta](https://www.austinchronicle.com/imager/b/newfeature/1940449/d3fa/music_roundup32.jpg)
This same group nails “Si Tu Maime”, a loping, almost ominous tune that taps into otherworldly soul yearning as the singer cries out in French and while Django Reinhardt-esque guitar playing backs him up. “Sie Koumgolo” by Coulibaly Tidiane and Dafra Star is a riotous blast of percussive goodness as this band grooves loud and hard with total abandon. There are other bright spots “Gentleman Doromina” by Echo Del Africa seems to be a predecessor or perhaps a like-minded distant cousin to the intense, brass-laden grooves Fela Kuti would establish as Afrobeat. “Beni Djarabi” feels distinctly Cuban yet the singing is clearly of the Upper Volta, making it one of the most fascinating fusions on the album. “Mama Soukous” is deeply funky and one of the heaviest grooves on the album with a frenzied, jagged guitar solo, while “Were Were Magni” is pure salsa. Volta Jazz, one of the biggest attractions from this era, emerges as the most “international” band with a particular fondness for the sounds of Latin America. As one might expect of anywhere in the world at that time, much of what these musicians tap into is music originating from the Americas. Things soon take a turn in a decidedly different and enlightening direction as these Burkina Faso musicians travel across a range of musical styles. “De Nwolo” by Coulibaly Tidiane and Dafra Star may feel the most “traditional” of all the tracks with its distinct Malian style guitar playing and complex kora solos. There are moments of transcendent greatness throughout.
![belle epoque in upper volta belle epoque in upper volta](https://www.buscadero.com/wp-content/uploads/2016/12/1200x630bf-800x460.jpg)
The acts featured in this 3-LP set and book tapped into a range of genres such as salsa, jazz, rock and roll, tribal African, Malian, and good old rock and roll, showing through it all that hard times would not be a deterrent from enjoying life. It had an illiteracy rate of over 90% and held the world’s highest infant mortality rate, at 280 deaths for every 1,000 births.” Somehow, the Upper Volta shined with music, fashion, and entrepreneurship, impressive considering that, according to the extensive liner notes, “Since declaring independence on August 5, 1960, the country had survived four coups, a border war with Mali, and a six-year drought. The area known as Upper Volta managed to squeeze some years of peace and cultural prosperity out of a time wracked by civil wars, colonial breakdowns, and political turmoil. The bands represented in Bobo Yéyé: Belle Époque in Upper Volta somehow managed to absorb a globetrotting mélange of musical influences, no easy feat at a time when communication across the world was complicated, especially in war-torn Western Africa, making this collection a remarkable artifact. Lucky for us, the folks at Chicago label Numero Group have once again unearthed a treasure trove of previously forgotten music originating from the tiny country during a particularly inspired period in the 60’s and 70’s. However, with a certain emphasis on countries like Mali and Ghana, we rarely hear about the land-locked country of Burkina Faso, which isn’t to say they haven’t made their own contributions to the sounds of the region. Much has been written about the rich musical culture of West Africa.