I.K. Dairo M.B.E. and His Blue Spot Band
I.K. Dairo M.B.E. and His Blue Spot Band
Afrodisia (Nigeria) 1983
DWAPS 2184 (LP)
sleeve : EX-(SRW, wear on corner, label on side B: wear.)
media : VG+/VG+(some slightly noise caused by light hairlines. some click noise caused by pressing-error.)
This 1983 album by I.K. Dairo M.B.E. and His Blue Spot Band, led by Isaiah Kehinde Dairo, who gained popularity in the late 1950s with his band Morning Star Orchestra, showcases the artist’s mature style that took shape in the 1960s, blending traditional elements of Yoruba culture with themes of urban life. Featuring electric guitar, talking drum, and a variety of percussions, along with an amplified accordion, the album presents a uniquely mellow, tropical groove infused with Latin rhythms. It’s easy to imagine that it influenced successors like King Sunny Adé and Ebenezer Obey. The B-side, in particular, employs a rhythm reminiscent of reggae or ska and uses a pentatonic scale familiar to Japanese ears, evoking the feel of gently swaying folk songs or enka. As is often the case with his works, all tracks are seamlessly connected and performed in a continuous, non-stop flow.
A2: Alhaji Akintoye
B1: Koma Sohun Ti Amu Waiye
I.K. Dairo M.B.E. and His Blue Spot Band
Afrodisia (Nigeria) 1983
DWAPS 2184 (LP)
sleeve : EX-(SRW, wear on corner, label on side B: wear.)
media : VG+/VG+(some slightly noise caused by light hairlines. some click noise caused by pressing-error.)
This 1983 album by I.K. Dairo M.B.E. and His Blue Spot Band, led by Isaiah Kehinde Dairo, who gained popularity in the late 1950s with his band Morning Star Orchestra, showcases the artist’s mature style that took shape in the 1960s, blending traditional elements of Yoruba culture with themes of urban life. Featuring electric guitar, talking drum, and a variety of percussions, along with an amplified accordion, the album presents a uniquely mellow, tropical groove infused with Latin rhythms. It’s easy to imagine that it influenced successors like King Sunny Adé and Ebenezer Obey. The B-side, in particular, employs a rhythm reminiscent of reggae or ska and uses a pentatonic scale familiar to Japanese ears, evoking the feel of gently swaying folk songs or enka. As is often the case with his works, all tracks are seamlessly connected and performed in a continuous, non-stop flow.
A2: Alhaji Akintoye
B1: Koma Sohun Ti Amu Waiye