Cutlass Dance Band of Ghana - Lassissi vol. 2 (Highlife, 1980)

(Lassissi LS26).

Ghanaian guitarist Osenkafo I.K. Anin (Annin) played within Police Dance Band in Kumasi, or Parrots Band, before creating the Cutlass Dance Band.
Initially heavily influenced from religous beleives, their music turned progressively into real highlife, giving space for horns to blow wonderfull solos. Great production by Ivory Coast label Sacodis.

Uhuru Dance Band - Betu Me O Awow (Hilghlife from Ghana, 1970)

(Decca 258.112).

Highlife knew his golden era during the 50s and 60s in Ghana, but this late 1970 "special hi-life numbers" just sounds like in the old good time, when president Kwame Nkrumah used to promote it as a symbol of modern (pan)african expression.

Saka Acquaye and his African Ensemble from Ghana (Highlife jazz, 60s)

(Explorer Series H-72026).

Saka Acquaye (+2007) was an artist from Ghana who had opportunity to travel to the U.S. during the 40s and 50s, and thus contributed to the modernization process of west african music during the 60s.

The liner notes insist on how modern was this music at the time:

Pico Culture #02 - MIX /// Terapia Africana Mix (A selection of pico african hits)

From the 70s, while the soundsystem culture was developing, more and more african records arrived on the colombian coast due to increasing commercial exchanges between international harbors.

Some african songs became hits, african styles being surnamed: nova for highlife tracks, rastrillo for kenyan tracks... It was such a big success for the youth of Cartagena and Baranquilla that even each popular song received his own surname. Also several tracks have been bootlegged in terapia/champeta  compilations (which leads to find improbable records including a pure benga followed by an awful 80s techno), and not always credited the original artist/title, but just the local surname known by everybody.

Oriental Brothers International Band (Guitar Band from Nigeria, 1977)

(Decca DWAPS 2034).

Three brothers from south-east of Nigeria founded the Oriental Brothers band: Godwin Kabaka Opara (who left in 1977 before this LP), C. Ezebuiro Obinna (surnamed "Warrior") and  F. Dansatch Opara. At this time Nigeria was more with Juju and Fuji, but as a major highlife band in the country, Oriental Brothers band remained recording great albums with hypnotic and evolving guitars and percussions. 

Roy Chicago and his "Abalabi Rhythm" Dandies (Highlife from Nigeria, 1961)

(PHILIPS 420 011).

Roy Chicago (John Akintola Ademuwagun, x - 1989) plays highlife in a nigerian style, based of various nigerian floklores elements. What is particularly interesting is the introduction of talking drum, like in "Sere Fun Mi Baby", track from early sixties. 

Starlite Band at FESMAN Festival Mondial des Arts Negres (Dakar, 1966)

(Philips).

This LP presents the musical contributions from different african countries to celebrate the 1st FESMAN (Negro Arts Festival) hold in Dakar in 1966. This Festival, impulsed by Leopold Sedar Senghor after the independances, was the 1st major cultural event including all art disciplines (music, litterature, theater, paintings...) from Africa, and countries from african diaspora (check the great track B1 from Ghanaian band Star Lite, tittled Baba Yara, from the name of the 60s football star).

A second edition took place in Nigeria in 1977 (FESTAC) and a 3rd historical (although controversial) edition is hold in Senegal again from 10th to 31rd december 2010 (http://blackworldfestival.com/), including artist from all over Africa, Brasil, USA, the Caribbeean, Latin America.

Orchestre Black Santiago - Wo n'titi (Highlife from Benin, 70s)

(Disques BSA 01).

Ignace da Souza and his group Black Santiago plays here a beninese style highlife. Pressed around 1974 at  Satel, Benin.