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African Music
INA Radio Dance Tours StudiesTraditional |
AFRICAN MUSIC
Very little research has been done in popular African music in general and even less in the area of the beginnings of commercial recordings. My particular interest is to look at period of the 1950s and early 60s when listening to gramophone records became an accepted entertainment. What music was being produced? Where was it coming from? What was the role the multinational record companies played in the African record market? Who were the musicians of that period? There are many more questions to ask, but to provide any answers at all the basic research has still to be done. The problems we face here are like those of any other research in the field of popular culture. There are no academic archives of the documents in question, popular culture has its own seperate existence which we have to reconstruct like a puzzle. Even though at this time it is everywhere on the streets it soon disappears into oblivion, remaining in peoples memories and in rare commemorative items. This is what makes popular music research difficult, even more so in Africa where less written documents can be refered to. Some hints as to its existence could be found in such remarks as the following from the autobiography by a Lebanese from Sierra Leone, Farid Raymond Anthony, describing the situation in provincial Sierra Leone before the first World War: "Social life was limited. There were no radios to provide
entertainment and only a few hand-wound gramophones using 78 r.p.m. records
which were hard to get and were easily broken." Gramophones and shellac discs became an increasing important entertainment within the social class of western, i.e. Christian, educated Africans throughout the continent. Radio which started between the wars but really took off after the second World War contributed to the promotion of the record in general. In the rest of this article we have chosen the Sierra Leone Broadcasting Station with its gramophone library as an example of the world of African shellac discs, their production and consumption. Sierra Leone is one of the smaller African nations in the West of West Africa and because of its Capital Freetown, founded in 1787 to give freed slaves a new home, it had an early and intensive experience with the western Christian education and values(1). The Sierra Leone Broadcasting Service began its operation in 1955 (Decker 1956,p.166). It was preceded by a wired broadcasting service, known as "rediffusion" system. This worked as follows: "a central wireless receiving set was provided by Government which
was powerful enough to receive broadcasts from most parts of the world.
Connections were made from this set to contributors' homes by telephone wires
connected to the smaller receiving sets or loud speakers in these homes. Local
events could also be transmitted live from the broadcasting centre. The officer
in charge of this station was responsible for choosing the programmes or country
from which the broadcast was coming and then relaying them to the loudspeakers
in homes which already had telephones, and the fee payable for this convenience
was PF 2.12.0d per year ." This service had been introduced in 1934 by Sir Arnold Hodson, the "Sunshine Governor" ( who according to C. During arrived on the HMV "ABA" ). He had started a similar service as a governor of the Falkland Islands (Findlay 1975, p.13). On the 7th May 1934 at the Wilberforce Memorial Hall the event took place: "True to expectations exactly at 7p.m. a hush fell on the listeners
and eyes turned towards the various loud speakers as they crackled into life and
the voice of His Excellency, Governor Arnold Hodson came loud and clear -
"Ladies and Gentlemen, I have been looking forward to this evening for a
long time with intense pleasure. I consider, and I think you will agree with me,
that the new broadcasting service opens up a new vista of life to all of us who
live in Freetown.... . We press a button and are transported to London; again we
press it and we hear grand opera from Berlin...." A few minute later the
Governor turned up at the Hall to receive a loud acclamation ." This was shortly before Hodson became governor of the Gold Coast where he started the second rediffusion system in West Africa(Decker 1956, p.167). But the rediffusion system in Sierra Leone preservered although Professor Eldred Jones comments that: "Rediffusion by wire in a city full of trees and liable to heavy
rainy season storms was a very vulnerable service, and the funny little box with
its single control knob frequently went dead, orfell to whispering its message
." Music by wire included programmes - live or recorded - from artists like Ralph Wright, "the multiinstrumentalist"(C.During 1984). As Eldred Jones mentions : "Much later this was to prove specially frustrating for our house
hold because one of my sisters sang, and often featured in Ralph Wright's
'Variety Time' programmes. When nothing came out of thebox or when it merely
crackled and distorted my sister's efforts we stopped just short of assaulting
the offending loudspeaker." 'Variety Time', introduced in July 1945 is said to have been one of the most popular features 'on the African air'. Twice a week the BBC was faded out at Freetown to make way for Ralph Wright and his 'Radio Discoveries'. "...twice a week Africans crowd eagerly round all available receivers
- for the success of the programme has been quite spectacular. Ralph Wright, the
Compere-Producer, is a versatile musician , and when he is not dealing with
legal problems (he is a Law Clerk) he is in the rehearsal rooms grooming his
performers, who are all, like himself, young amateurs. Despite the big names of
Radio available from the B.B.C. by the turning of a switch the African listener
continues to lookforward to "Variety Time" with real pleasure and
antcipation." 'Variety Time' was in fact Lionel Millar's creation: if he remembers correctly, although this open to dispute if set against above the report of West Arfican Review's: "...what I do remember is that sometime in 1947 the Public Relations
Offices asked me to do a musical programme on the Freetown Rediffusion Service.
I presume I was selected because I had a small idea of music and I found myself
in the company of Ralph Wright, Chris Walker, my sister Enid Millar, as she then
was, and a few others whose names I cannot now remember. That first
"Variety Time" programme was considered a success and I sang and
played "Apple Blossom Time" with Chris Walker and "Sweetie Boisie"
with my sister Enid. From that time "Variety Time" flourished into a
recognised and memorable programme for about fifteen years and the artists were
varied and many." There was obviously a keen interest in programmes of Sierra Leone music which originated Sierra Leone.The BBC could not satisfy this interest, however much they tried. The British were ensitive enough to react to that changing situation. [And if we have to take a popular designation serious]. In contrast to the West African Review's good will promotion article, the rediffusion system was not an undisputed institution among the populace. The West African Review , a publication financed by the Elder Dempster shipping line, has only one rationale, which was that to serve the colonial economy right. Ideologically it's role was support anything that spread positiv and good mood among colonial subjects. Mr. George Tregson-Roberts, at one time Chief Social Development Officer, who had his ears to the ground mentions the "rather irreverent" voice of the people calling the rediffusion sets CONGOSA BOXES. KONGOSA is listed in the Krio-English Dictionary as standing for gossip and is derived from a Twi word meaning 'falsehood, deceit, hypocrisy' (Fyle and Jones 1980, p. 181). Thiscould be an apt indication of the people's wit and power of analysis of the BBCs role as a radio station which represented the Government's side within the colonial situation. The popular assessment of colonial radio contrasts substantially with the 'official' view as expressed by the SLBS' first Director of Broadcasting Leslie A. Perowne, who was seconded to Freetown from the BBC in 1956. He believed in the myth of an objective Radio station: "That is one reason why the BBC is so respected throughout the world;
its news is objective and the listener knows it ." During the post-war period British Colonial policy was generally to develop broadcasting in Africa in order to intensify the education and information of the populations concerned. This served a twofold purpose. On the one hand it was a demand by the growing section of politically aware people in the colonies working towards self government to have their own radio stations as well as a medium for the British to strengthen their own hold with the help of modern communication media. "In 1949 the Sierra Leone Government was one of a number of Colonial Governments who were informed that the Colonial Development and Welfare Fund would spend about £ 1.000.000 to develop broadcasting in the Colonies. Sierra Leone received a grant of £ 23.000, which paid for the transmitter and the cost of expanding the Freetown studios (Decker 1956, p. 167)." In its initial stages, (before the SLBS was headed by a Department of Broadcasting,) it was run by the Railway Department, the Public Relations Department and P&T. The Freetown Rediffusion System functioned parallel to the SLBS and was closed down only in 1963. The Gramophone Library - according to its present librarian Mr. Emanuel O. Bedford - started its official functions in January 1958. "By mid 1958 the sum of £ 3100 was voted out of a grant to Broadcasting for the ordering of Commercial Gramophone records through Crown Agents, and local purchases (Bedford n.d.,p.1)." The library was started by Mrs. Catherine Haye (?)( Hungarian born). One can guess how important the library was considered by looking at a photograph taken during the early days of SLBS showing the "usual Monday morning conference in session" with all the members of staff responsible for running the radio including "the first Gramophone Library Assistant Mrs. Catherine Haye" (Findlay 1975, p. 44). In another photograph we can see her in the "First Gramophone Records and Tapes room - the nucleus of the S.L.B.S." Library together with John Akar, "First Sierra Leonean Director" and Lionel Millar "then Programme Planner"(Findlay 1975, p.44). The Publication ", Sierra Leone Broadcasting Service - 40 Years of Broadcasting, 1934-74" does not mention the library on any other page. By 1976 the Library had "well over 15.000 records and a little over 1000 tapes in the Archive(Bedford n.d., p.1). However in the following years SLBS was not able to purchase any new records. The reason given for this is 1.) the general economic situation and the connected problems with foreign exchange and 2.) the abscence of both record shops in the country and record production. (Bedford n.d., p.1 and p.2)
In 1984 and probably for some years earlier there was no listening facility for shellac discs in the library or anywhere else at SLBS. This might have been a positive condition for the preservation because it left this part of the room untouched. The records are sorted according to companies or labels and then numerically. From the total amount of 716 gramophone records 225 are Sierra Leonean music, this is just below a third of the whole collection. The other two thirds are from other parts of Africa. In that section the former British territories form the larger part. From francophone Africa there is only the then Congo of significance. Here are the figures according to countries:
From this figure we can see that the total number of records from Sierra Leone more or less equals the records from the Congo and from the other former British West African territories. This points out the sympathies that existed at that time in Freetown towards the music from outside. Congo music was rated very high up. West African music people in Freetown in particular loved as for a great proportion of the population this was music from their former homelands(1).(Not clear) That there are records from Southern Africa and a few from East Africa is definitely the case because of the link between British territories within Africa.
Among the leading musicians and singers were G.Edouard, M. Oliveira, H. Freitas, J.Bokelo, L.Bukasa, A.Wendo and already most of the musicians of later fame, lilke J.Kabasele, FrancoLuambo Makiadi, Nico and Rochereau. Of interest too, the congolese OPIKA label had Nigerian and Ghanaian bands in its programm and one wants to know, for whom they were intended to be sold for. Were they for the export to Nigeria, or was there a market for Nigerian or Ghanain music in the Congo? Among their artists were such eminent market leaders as Bobby Benson from Nigeria.
We are still far from knowing the total production of Sierra Leone music by international recording companies. The Decca West Africa catalogue from 1962 lists 3 Ebenezer Calender records ( WA 2501,WA 2502, WA 2504), 2 by Tejan-Sie ( WA 2671, WA 2673) and one each by 'Kande & His Kondi Singers'( WA 2663) and by 'Kamara & His Gbulu'( WA 2705)(DECCA 1962). None of these were listed in the catalogue of the follwing year, 1963 (DECCA 1963). Not even one record was in the library From the above listed Calender records.. WA 2502 is the most famous of Calender's records with the song 'FIRE, FIRE, FIRE' - but this too was not there. It seems from the records of Sierra Leone that appeared on international labels, that the record production in Sierra Leone was on a very low level. This view does prove wrong as soon as we do get the opportunity to look into the local production. Until recently there was no awareness of these prouctions lacking any knowledge of them on the side of the outside observer. This is not only true for Sierra Leone but for all African music(4). In Freetown - and in Sierra Leone record production was to the present state of knowledge limited to Freetown - there were two larger record producers during the 1950s and early 60s, Adenuga and Jonathan was the one and the Bahsoon Brothers the other. Both had their respective labels, NUGATONE and BASSOPHONE.
Adenuga himself was even singing on a number of his own recordings, e.g. on the Nugatone AA 36, 'Jiving Marie Calypso' by the band 'The Freetown Darkies'( Bender 1988)(5). According to Chris During Jonathan Adenuga always grouped the same musicians with a few changes into new bands, giving them new names. in this way it appeared as if there were so many different groups signed on with him, but in fact they were mostly the same musicians (C.During 1984). Another of Adenugas creations is the 'Freetown's Leading Sextet' (Bender 1988). He did the recordings in his shop's backroom. But he later used the SLBS studio for recordings. After 1964/65 Chris During did recordings for Adenuga in the SLBS studio(C.During 1984). Then he sent his tapes to England for pressing and got them shipped back to Freetown. Adenuga had an amazing variety of titles to offer. There are Christian and Muslim religious records, traditional and modern groups with all kinds of songs and dances (Bender 1988). He had 93 different artists on 162 records, that is all SLBS has. What his whole list was can roughly be guessed from the numbers. The calculation can only be based on the highest number available of each series. The AA series up to 150, the AB to 9, the BB to 130, the FA series to 33, the NU to 111, the REL to 3, the RV to 35 and finally the SAL to 15. Alltogether this accounts for 486 records minimum of which only 162 are at SLBS, a third. Adenuga was an important institution in what concerns Sierra Leone music . On one of his record jackets the following is printed: ---------------------------------- Among the 162 Nugatone records in SLBS, 126 are recordings of traditional music, only a mere 36 are modern bands.This contradicts the common assumption, that recorded music, that music in the area of modern media means automatically a predominance of modern music as well. Nketia once remarked in view of the situation on the Goldcoast: "The bulk of commercial recordings are in the new style.... (Nketia 1956, p. 199)." But Nketia does not provide us with an overview if the whole record production in the then Goldcoast. As far as we can judge his remarks , he refers mainly to the records of the international record companies, which in fact have devoted more attention towards the modern music. After Adenuga died the shop was closed and his relatives returned to Nigeria.
Together with a Lebanese Samir Kobaise he ( Abdallah Bahsoon,W.B.) went into the record business 'out of personal loving of the African music'. The date is not definitely known - but a date sometimes during the 50s might be right. The shop in No.4, Regent Street was probably closed in 1975. They all lived in No. 12 Regent Street and there the recordings were made. The recording machine had 7 1/2 speed and was probably a E Marconi. One or two microphones were used. £ 100 or £ 150 were paid for a tape of 3hrs. Then the tape was sent to Germany or later to France. The records cost in the shop 2 to 3 £. It was not possible to find out if this relates to 45rpm singles or the earlier 78s - as there are in fact singles labelled 'Made in France' from Bassophone. The record shop that was the main outlet for the Bahsoon Brothers label BASSOPHONE was the 'Records Palace' at no. 6 Water Street, Freetown. This name for a record shop does show how precious records were regarded. This definitely was open when shellac discs were sold, as there are jackets with its name that belong to Bassophone records. The selection that the Bahsoon Brothers took was similar to Adenuga. But Bassophone was a smaller label than Nugatone. According to the highest number in the SLBS collection there were only 223, off these 51 are with SLBS - this is below 1/4 of the total. Similar with Adenuga it is fact that traditional songs are in the majority. As long as we have not alguired a complete picture of the records published by the respective companies it is questionable to really make any assumptions on the selections made by the producers. The records that are in the SLBS collection could be the selection of the librarian who bought them, they could be free promotion copies or they could also be just what is left over by now, years after they have been in vogue. The most beloved ones, the real hits, might have been used so often that they were run down or because they were used so often they were likely to have been broken. The other possibility is that they disappeared into private possession, at the time when people were keen to have them or later when collectors viewed them as rare items. All these probabilities taken together might result in a gramophone library to be seen as a negative impression of what people specially prefered at a particular time. Therefore we have to be very cautious in our assumptions or deductions through looking at the stock of a collection. With an archive alone we can not make any valid statements about the taste of the public at a particular time. To work with the remaining stock would be the only way. To interview contemporaries, producers as well as consumers. (Not clear) With Nugatone as well as Bassophone or any other record company or label in Freetown there is a complete abscence of published documents related to the record production. There are no catalogues, they probably never have been printed any, or handouts, posters etc. Nothing has been found till today. Nketia did also draw the attention to this problem: "None of the firms appears to issue proper catalogues of records for the benefit of buyers. Cyclostyles lists of records in stock are however issued by some of them periodically for their shops (Nketia 1956, p.197)." Nketia means here the following record companies: HMV, Decca, Parlophone, Senaphone, Queenophone and Kwahu Waga. May be there were cyclostyled lists in Freetown too, but they have not been discouvered yet. What has been found so far though are bills by the record intermediaries especially two West German commercial agents that were commissioned with the job to organize the manufacture of the records off the Sierra Leone tapes, the companies Büchting and Reining. Here are the copies of two bills by Walter Reining for the pressing and shipping of 78rpm gramophone records from Sierra Leone to West Germany and back including the printing of labels and jackets.
1961 Bassophone Records CIF Price 1/8 Store 2/6 Walter Reining Rchng. No. 61335 28th. 4 1961 vOrder BB 551 500 Bassophone Records 78rpm, 10" No. SR 205 at sh 1/8 per record 151 Kilo incl. Bassophone record bags incl. two-coloured labels and packing CIF Freetown £ stlg. 41/13/4 CIF value 41/13/4 16/13/4 Duty 16/13/4 3/8/- Port 8/3 Labourer 2/- Bank Charges 15/3 Total 61/14/8 Walter Reining invoice No. 61239 23rd of March 1961 7 cases 1400 Bassophone Records, 78 rpm , 10" 1000 records No. SR 205 A/B 50 records No. BS 16, BS 32, BS 10 No. BS 49, BS 40, BS 11 100 records No. BS 221 at sh 1/8 incl. Bassophone bags incl. two-coloured labels incl. packing £ stlg. 116.13.4 duty 46/13/4 The disc with the number SR 205 seems to have been a best seller as it was ordered twice in relatively short intervals, once in March with 1000 copies and again in April with another 500. Unluckily until now we do not know what record this is. But at least we have the whole sale price at sh 1/8 for the Bahsoon Brothers as new information. We also have an indication of the quantities of orders normally carried out. The majority of the records ordered in march were in 50 copies each. One is in 100 each. This is BS 221 and it is one disc that is in the SLBS library as well. It is a record from the famous Mende accordion player Salia Koroma. The songtitles are on A-side DOMAYA YA and on B-side YNGNDU . This information gives us at least an idea in what quantities a recording by a well established musician was ordered. 100 copies was obviously not bad, compared to the 50 each with the 6 remaining ones. SR 205 again is a record totally exceeding the ordinary quantity.In the present difficult situation it is of utmost importance to find documents like these bills. This is the only way to put our research in African music on a sound foundation.
"Tejan-Sie was born in 1927 in Freetown. He visited the Samaria Amalgamated School at Wellington Street, later he went to St. Edwards and then to the Methodist Boys High School. He was a very good footballer and cricketer. He had a beautiful voice which made him the blue eyed boy of Professor Greywood, the music master of MBHS. He was solo treble singer in the professor's 100 voices choir and sang in churches throughout the length and breadth of Sierra Leone. After School he worked in the Sierra Leone Railways at which he formed his Calypso Band. With him playing the guitar and Ukelele Banjo. Of course he was also the lead singer and composed several songs. In the early 50s Sierra Leone had Self- Government and party politics came into being. Tejan-Sie joined the SLPP and his band and talents were used to campaign for the party. When the party won the first General Elections he was given a scholarship to study speech and drama at Rose Bruford College in Kent, England. This was in 1959. He was very successful in Britain. He came back to Sierra Leone in 1964 to find great changes in the political scene. Although the SLPP was still in power - but the people he met did not know him - so he lost his popularity and political influence. This affected him both physically and mentally. His mother was a Christian and his father a devout Muslim. He was a Christian until he left school, when he became a Muslim. Besides his voive - peculiar to himself alone - he was an accomplished showman and very friendly indeed. He died in 1977(C.During, letter 23rd. march 1987)."
"I was born in 1903. I was nine years of age when I started to play the accordian. Yes, I tried, I didn't know how to play it. I tried on my own, trying to copy from my colleagues around. I went to wherever I heard of festivities, particularly Bundo ceremonies. I went in search of places of entertainment, just to be able to learn how to play the accordion. My father had told me that if I did not play the accordion he would curse me. So in spite of the difficulties I had to go through learning how to play the accordion - because I was afraid of the curse my father would put on me, I persevered. After some time my father bagan to teach people how to play the accordion. But he did not like teaching me because he was such a severe man. He said, "If I teach you the art of playing the accordion I might beat you to death before you could know how to play it. Instead, I will give the task of teaching you to my apprentices. You know I am a hard-hearted man". I continued to learn on my own. Whenever one got spoilt my father always replaced it with a new one ( Salia Koroma 1985, p. 8)." Salia thus became one of the most favoured Mende singer and players. From the 1950s onwards he did recordings. There are many 78rpm shellac discs that have been published and when the period of records was over cassettes were being recorded with him. One cassette bought in 1984 was numbered '38', 'SALIAH KOROMA 38' and was published by a company called BIG APPLE from Kenema. Here now we have the unique opportunity to analyse the music by one Mende musician over a period of 40 to 50 years. A study of Salia would be a fruitful undertaking for any musicologist. A book about him would be a long needed venture. This would then be a fitting irony to his nearly proverbial expression: I KNOW NO BOOK BUT BOOK KNOW ME! This was to say, even if I did not attend school, i.e. even though that I am not able to read and write, I am knowledgable, I am educated - in my way. On GANENE BIMBE, Salia Koroma & His Accordion ( BS 48 ) sings a Mende song in which he stresses the allegory of the new dress, which inspiteof its love by the owner will either get tornor abandoned one day. This allows to dispute believes in the endlessness and permanance of artificial situations. Salia refers to "Janene" as (not clear) a personification of the fast individual who may tend to rely on his fastness to avoid problems, but... money comes into play. Salia believes that money should serve the owner as well as the needy. (content told by M.Kallon, Bonn)
That is why the collection of SLBS is most interesting, not only in view of the different labels with music from all over Africa, but mainly because of the small labels of local origins with their often long repertoire list - of hundreds of productions! These entreprenuers were right on the spot of the local music scene. They did not have to rely on any 'informants' as most of the multinationals have to. They themselves know the local scene. They know what bands they want to feature, what they will be able to sell. That is why for some of the large companies these small firms only did the scouting job for them. Like in the case of Ebenezer Calender's 'Double Decker Bus' song that was originally recorded by somebody else for the local Attalah label only to be copied by Calender for Decca West Africa( Bender 1989, 56ff.). The local business men did everything to please their customers. That is why the variety of their labels is often of a wide range. The most important issue may be the producers presence in the country and the abibility to react quickly to new demands. Even though there were technical limits to the speed of 'reaction' because of the long postal routes. This only changed when the first record companies started to operate in Africa, e.g. Nigerphone in Onitsha , Nigeria.
Notes(1) As the Capital of Sierra Leone, Freetown has a 200 year history to look back upon. It was founded by English philanthropists in 1787 to repatriate liberated slaves of African origin. Even though this particular spot was not their real former home, it was at least in Africa. The early settlers were followed by so called 'recaptives' - which were liberated from slave ships by the Royal Navy. In 1792 the Nova Scotians arrived from North America and in 1800 Maroons from Jamaica. A new society evolved out of this conglomeration under British tuition and later colonial rule. Nevertheless a lot of the pecularities of each group of settlers were retained to some extent and contributet to a colourful variety.(2) cf. David Rycroft, "The Guitar Improvisations of Mwenda Jean Bosco", in: African Music, Vol. 2, No.4, 1961, pp.81-98 "For his Masanga recording Bosco was later to gain first prize under the Osborn Awards for the best African music of the year (1952)." p.81 (3) John Collins and Paul Richards, "Popular Music in West Africa - Suggestions For an Interpretative Framework", in: David Horn,Philip Tagg(eds.), Popular Music Perspectives, Göteborg and Exeter, 1982, pp. 111-141 (4) It is absolutely neccessary that more detailed studies of this area of production are undertaken. A good example is the recently published study by Flemming Harrev on the East African Records Ltd. Company in Nairobi. Until then one could speculate or base arguments on speculations and will now be proved wrong or right. Definitely many arguments brought forward earlier are since this study no longer tenable. Studies of musical developments in East Africa have to be reconsidered now with this available information. (5) According to Chris During 1984, Adenuga sang also on Nugatone RV 22, 'Repete', and on Nugatone BB 1 (6) cf. W. Bender, CALENDER - AN APPRAISAL, in: Bayreuth African Studies No. 9, W. Bender(ed.) Perspectives on African Music, 1989, pp.43-68
Bibliography
APPENDIXLABEL DESCRIPTIONSDECCAThe Decca numbers start with WA 726 but there are only a few numbers till the 900s where are more, in fact 45 of the 100. It continues only with WA 1653, WA 1703, 1709, 1863.1925 and then again 2604, there are 20 within this 2600s. There are 8 in the 2700s, 25 in 3000s, 19 in the 3100s. There were in all 121 Decca shellacs "yellow label" in the SLBS library. HMV COLUMBIA PHILIPS GALLO TROPIK HIT Records TROUBADOUR AFRICAN GRAMOPHONE STORES NGOMA OPIKA NIGERPHONE PATSOL QUEENOPHONE SENAPHONE MELODISC Now the labels operating only in Sierra Leone during the 1950s and
early sixties: NUGATONE BASSOPHONE MOOLA-AFRICAN MUSIC ROGIE
Welcome to The QueenWelcome Your Majesty, Elisabeth IIWelcome to loyal Sierra Leone Welcome Prince Philip, Duke of Edinburgh Welcome to loyal Sierra Leone Welcome our precious Queen Welcome a smiling you Welcome Your Majesty, Elisabeth II Welcome to loyal Sierra Leone The link uniting us is very fortuned spirified Welcome Your Majesty, Elisabeth II Welcome to loyal Sierra Leone Happiness God guide your visit well We love gold and silver and offer you the best of it sunshine and love Welcome our precious Queen Welcome our smiling Duke Welcome Your Majesty, Elisabeth II Welcome to loyal Sierra Leone WELCOME !!! | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||