This album is touted as “a world premier” of Por Por (pronounced paaw paaw) music with squeeze-bulb honk horns, bells, drums, and voices of Ghana.  Steven Feld, Professor of Anthropology and Music at the University of New Mexico,  researched, recorded, annotated and photographed the project. His research principally concerns the anthropology of sound and voice. Studying global sounds of the rainforest, Greek Macedonia, Africa and more for over four decades, he has been recognized for lifetime achievement in the field of ethnomusicology.

The squeeze bulb circular brass car horn was first brought to Ghana by Indian traders. Dating to the early-1940s, Por Por is a type of music of timber truck drivers in Accra. Horns and percussion insured protection of disabled vehicles after dark. As a flat tire was being pumped up, others would surround the vehicle and bang out support and scare off animals. The music’s format resembles elephant tusk or African horn ensembles, but it has a distinctive tire-pumping dance accompaniment with a variety of African rhythms (agbadza, kolo, ogeh, adowa, kpanlogo). The extensive liner notes by Professor Feld also acknowledge the influence of big band and jazz music in its development, and one might even hear some jazz horn riffs. Por Por became ritualistic for exclusive performance at the funerals for other transport workers. On this album, Por Por music is played by the La Drivers Union. “Mammy wagon” was the name given to the original open-sided wooden trucks that were often filled with women transporting agricultural products like yam and cassava. Because the vehicles were declared too unsafe for inner-city transport in the 1960, the Drivers Union now operates trotros or minibuses for Accra's public transport.

The songs of the La Drivers Union Por Por Group are about conflict, struggle, praise, love, poverty, sorrow, and generally life’s circumstances. The album opens with group leader (and Union vice-chairman) P. Ashai Ollennu’s call of welcome with a solo double por por horn salute. Many of the tracks feature John Boye ‘Hello Joe’ Mensah’s lead vocals. “Driver, Take Me, The Train Has Left Me Behind” is led by Tawiah Jonku. At track ten, Mensah leads “M.V. Labadi” about the life of drivers on the road. Named for the M.V. Labadi vehicles owned by pioneer transport operator Ataa Anangbi Anangfio, the song begins with praise for him. This is a unique kind of rhythmic world music that clearly had its origins in materials at hand, as well as a need to use it for protection and to now simply sound off in a celebratory manner. The album ends with the lively group honking up some “Por Por Horn-to-Horn Fireworks” in celebration of their Ghana’s independence. (Joe Ross, Roots Music Report)