Osibisa's second album 'Woyaya' would see the Afro-prog pioneers expand their sound to include more overtly jazzy overtones whilst also turning down the party atmosphere in favour of a more sedate and psychedelic feel. Again, guitarist Wendell Richardson and group leader, founder and saxophonist Teddy Osei are the dominant forces, but this time around the group's uplifting pallette of sounds features a more complex lilt that places 'Woyaya' much closer to the sounds of progressive rock. More thoughtful than their self-titled debut, 'Woyaya' is a complex and impressive album filled with dazzling instrumentation and a rich tapestry of African, Carribean and Western sounds and ideas that shows a band developing rapidly over a very short space of time. Fans of the group claim that this is their best album and it is hard to disagree.

Osibisa, the West African high-life band from Ghana, waxed their first LP in 1971 and continues to spit them out. Their longevity can be attributed to a vibrant sound and the ability to inject humor into music. They don't allow themselves to become mired in social issues as did the short-lived but often brilliant Cymande, whose LPs were essentially political statements. Osibisa's only agenda is making good music, and if it happens to strike a political or social nerve, fine, but it's not what they're totally about. "Wango Wango" starts slow but evolves into a wicked jam that's heavy as P-Funk. Pleasant flute and trumpet riffs accent the lovely "So So MI La So." The bands' tribute to America, the floating "Sweet America," teases and tantalizes. Percussion heads will appreciate "Ye Tie Wo" and "Che Che Kule." The deepest slabs of social commentary are the thought-provoking "Sweet Sounds" and "Did You Know." All tracks were written by all or various members of Osibisa, who share production credit with John Punter.

On this 1980 album, Osibisa drifted yet further toward an R&B dance-pop direction than they had on their previous studio record, Ojah Awake. Of course they weren't alone among popular recording artists in making concessions to disco during this era, and they didn't bury their African roots. It was still a somewhat dispiriting trend, and while much of the band's characteristic blend of African and Western influences remained intact, the songs – all of them around five minutes long, and relying on grooves more than content – were kind of blah. "Celebration" is about as close to a conventional soul-funk-disco track as the band got, and seems more like an Earth, Wind & Fire outing than an Osibisa one. At other points, the elements get more eclectic, creative, and (by Western pop standards) exotic; "Africa We GoGo" is reasonably convincing Africanized funk.

Osibisa, the West African high-life band from Ghana, waxed their first LP in 1971 and continues to spit them out. Their longevity can be attributed to a vibrant sound and the ability to inject humor into music. They don't allow themselves to become mired in social issues as did the short-lived but often brilliant Cymande, whose LPs were essentially political statements. Osibisa's only agenda is making good music, and if it happens to strike a political or social nerve, fine, but it's not what they're totally about.

Osibisa made its greatest inroads into British and American popularity in the early '70s. By the time of 1974's Osibirock, the band was in transition, moving from one record label to another (this disc was released in the U.S. on Warner Bros. following a long stint on Decca) as musical tastes changed. At first, Osibisa's rock/highlife hybrid was a welcome change of pace from prevailing trends, and Americans whose ears had been opened to world rhythms by Santana's blend of rock with Afro-Cuban jazz heard a similar exotic, danceable music coming from the Ghanian-by-way-of-London band.