With this release, Wulomei, one of Africa's most exciting groups make a deserved return into the global limelight.
Wulomei Returns is propelled by a rich spectrum of contemporary styles and adept arrangements in a marriage of cultures that has significance far beyond music alone.
The key to this album is its powerful rhythmic foundation rooted in the musical heritage of the Ga people, spiritual custodians of the sea and original inhabitants of Accra, Ghana's capital city. Throughout the album, irresistible rhythms feed Wulomei's inclusive style that blends, African, Caribbean and Western rock musical influences with insightful narratives about love and relationships and a joyous celebration of life.
Helmed by Ghanaian born musician and producer, Kwesi Owusu, Wulomei Returns retains the group's scintillating harmonies and catchy melodies of previous albums. Their earthy, distinctive voices are also very much on parade. But what really sets this musically impeccable album apart is its unique global seasoning. Each track on Wulomei Returns evokes memorable influences from the history of modern music – from trumpeter, Paul Bilson's haunting Davies - like opening to “Takoradi” (track 3), the chopping reggae guitar sound reminiscent of the early Wailers on “Akosua Serwah” (track 6), to “Menye Menye Menye” (track 7), a thrilling dance floor tribute to the Congolese guitar styles of Franco, Kanda Bongo Man, Zaiko Langa Langa.
Wulomei Returns is an impressive album from the super heroes of Ghanaian music.
A woman sings her lover's praises but warns him to be totally devoted to her. The infectious hi-life rhythm is driven by heavy percussion, melodic keyboards and wailing guitars. The original song dominated the Ghanaian music charts for several months in 1975, propelling Wulomei from the ghettoes of Accra into national heroes.
A good time man wakes her lover in the middle of the night. He is in great hurry to take her out. Destination? The plush Meridian Hotel in the bright harbour city of Tema. She fantasizes about the great time as she gets ready.
TAKORADI ( feat. Tinny - 3.26)
A tribute to the heady night life of Takoradi, Ghana's western sea port during the 60's and 70's. Sung in the localized English of Kru sea men from Liberia who gave the city its entertainment buzz. Tinny, leading hiplife rapper lays down the good time gospel in Ga.
Don't flirt (too much)
A kind word to a parting lover not to stray from the one he loves or else he would answer to the lord on judgment day. Features Kari Bannerman's melancholic guitar, driving funky beats and thumping basslines.
Not much to be said at the end of a relationship. I have said all that need to be said. Soulful poly - rhythms criss cross with jazz trumpets, funky basslines and soaring earthy voices.
AKOSUA SERWAH (feat. Tinny - 4.06)
My sweetheart (Akosua Serwah) is suddenly gone and I am distraught. Losing true love is the hardest thing. Nonetheless, I wish her God's blessings.” A heart stopper that charmed the country when the original song was released in the 70’s.
MENYE MENYE MEMYE (feat. Kaseem - 3.59)
“My husband drinks too much. He spends all his money on booze and women. “Why do you behave so irresponsibly, in spite of all the hardships we've been through” Hiplife Rapper Kaseem Babe scolds the man in Ga proverbial slang.
AKOSUA SERWAH (3.59)
AKLOWA REMIX (3.37)