Influences to the Western African Recording Industry

Mark M — Sun, 28 Mar 2010 04:05:13 +0000

Just like music from outside of Western Africa nations, music from this region is made up of a variety and of different types. And just like music from the rest of the world, music from Western African countries is mainly made up two major categories, traditional western African music and what can be referred to as contemporary or modern western African styles.

Compared, the contemporary African Music styles have had more popularity than the traditional one’s. At least this is what a non West Africa can observe about the regions past and present musical trends. In other words as the West African nations have developed, so has their recording industry and so on. It is fair to say that the music industry in Western African countries is at par with other parts of Africa.

Additionally it also fair to allude that the movie industry in West Africa especially in Nigeria has flourished greatly compared to most other African nations. The question that one can ask would be, could the “Nigerian Hollywood” make the music the entire region’s music industry explode with higher artist record sales around in around Africa and the world in addition to heightening of musical standards in this region?

This is a fair question to ask about any developing nation’s music or movie industry and some debate is encouraged here. As India’s Bollywood has continued to blossom and record high record sales revenue worldwide, so has Indian music. The two industries have historically developed hand in hand. With that said, one can assume that the popularity of Nigerian drama or action movies is likely to spawn budding musical artists from the region. We are however yet to see this kind of development in West Africa.

Hip hop can be said to have helped churn out great artists from the region especially again from Nigeria. Other nations in West Africa are yet to show their music prowess; in fact one of the common complaints that have been made about artists in this region is that they’ve been trying to copy successful Nigerian artists. These complaints have been especially so in countries such as Ghana where analysts write to complain that Ghanaian musicians have demonstrated a luck of musical creativity and have ended up copying their English speaking country counterparts.

Well, copying musical, theatric, movie or any other stylistic device is not necessarily a bad thing as long as, in my opinion, the final product is embellished with original local artistic value. Hip hop culture has been copied all over the world, yet Run DMC’s belly is not aching, in fact, it has only made his rap pioneering records sell even more residually.

In conclusion, influence of one successful industry in a nation or a region , in this case the West African movie industry led by Nigerian, can and will have a positive effect on the entire regions music industry. Additionally, if other countries’ musicians want to sound like top Nigerian Artists in order to sell records, in my book, as long as they are not infringing the formers copyrights, so be it. It is for the good and the great of the entire West African region’s music recording industry in the long run. This has been demonstrated in other parts of the world and I see no conceivable reason as to why it wouldn’t materialize itself in West Africa. I think we haven’t seen everything yet from this region. More is on the way.

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Is Southern African Music Industry Still The Best In The Continent?

Mark M — Fri, 26 Mar 2010 05:41:49 +0000

I feel compelled to say that, with the upcoming FIFA World Cup in South Africa, the world will definitely learn more about south African Music and if Africa misses this chance to let world know all about its music, there is not going to be another chance. I could be wrong on this one. South Africa has some of the world famous Artists; the late Miriam Makeba, Hugh Masekela, Lucky Dube, Lady Smith Black Mambazo, not to forget the late Brenda Fasie to name a few. With this line up along with the modern Afro Hip hop artists of the Azania, South Africa is without a doubt expected to put Africa on the map in the very short term.

Just like any other modern country with a combination of westernization as well as indigenous culture still being major player in day to day living of music listeners, South Africans have a varied taste. While its true the young and the young at heart are more in tune with the Afro hip hop and R&B, South Africa youth is also very much in tune with the indigenous tunes such as Kwaito. It�s true that without the indigenous tunes, Afro hip hop would not be as artistically astute.

South Africa has the most developed recording history on the entire African continent with a prolific local music industry that’s been pumping out commercial releases for over a half century. Some of the major recording companies the South Africa are Teal, Tusk, Gallo, and BMG.

For more than 100 years, South Africa, more than any other African nation, has looked to the U.S.A. For musical inspiration. The discovery of gold and diamonds in the 19th century created an urban population hungry for entertainment. And traveling African-American minstrel shows, vaudeville acts and gospel groups helped fill the bill, making a big impression on local audiences. American jazz artists and jazz-arrangement concepts thrilled the embryonic South African jazz scene from the ’30s on. American soul, disco and hip-hop from the ’60s to the modern day all have their offspring in South Africa.

Away from the Music studios and bars, rural musicians in Zulu, Sotho, Pedi and Shangaan ethnic enclaves create lively social music. Traditionally strong singers and dancers, the Zulu took a particular shine to two western instruments, guitar and 10-button concertina. The pioneer Zulu concertina records appeared in the ’30s, coupling mesmerizing melodic cycles with call-and-response singing. The Zulu’s distinctive finger-style guitar playing, known as ukupika, adapts sounds from various traditional sources, including the ancient mouth bow, to create racing embellishments of notes that settle into insistent, hypnotic grooves, grounded by a heavy downbeat. The typical song arrangement begins and ends with choral singing; in the middle, the singer delivers ukubonga, spitfire rapping generally in praise of a clan, family or chief.

At end the 1990′s, Phuzekhemisi (one of South African popular musicians) was one of the highest selling acts. With a strong roots sound and socially engaged messages in his songs, Phuzekhemisi has been this genre’s greatest international ambassador in modern years as well. In the mean time, veteran singer Busi Mhlongo has fused the Zulu traditional sound with contemporary dance aesthetics, hip-hop and kwaito (South Africa’s homegrown style of club-friendly house music). Her 1999 release Urban Zulu is a momentous in the new South African roots-pop movement.

Additionally, The Pedi, an ethnic African group very closely related to the Sotho, also record using an auto-harp in the style called harepa. With a beat at least as pounding as the Zulus’, Sotho electric groups have developer from concertina to full-sized accordion and typically favor a gravelly, roaring lead vocal. Sotho groups, such as Tau Oa Matsheka and Tau Ea Linare, use a six-note scale, rather than Western seven-note modes. As an indication of the nomadic nature of these artists, one Sotho singer, Molahlehi, “The Lost One,” recorded a popular record in 1986 then disappeared. Two years later, the finalized record hit the market, but Molahlehi never turned up to claim his glory.

South African Music industry is most advance and we can ostensibly argue that it is at par with the rest of the world’s standards. I know we have even greater artists coming from Southern Africa.

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Some Early and Modern Instrumentation and their Use in African Music

Mark M — Wed, 24 Mar 2010 05:52:24 +0000

As we know drums are a great part of African Music. When folks think of a drum synthesizer, they think machines that work sought of like a piano to reproduce a drum sound. Many musical groups use synthesizers in the music industry, a synthesizer is used to imitate the sounds of a drum or other percussion instruments. In these instances it is referred to as a synthesizer.

Drum can be very helpful in select situations. For instance, during professional recording sessions when live drummers may not be available, or simply not wanted. Most modern drum machines are sequencers, or hardware created to manage computer-generated music. They have a sample playback or synthesizer component that specializes in the reproduction of drum and other percussion instrument sounds. The machine is simply programmed with the required drum scenario and launched at the desired time.

The advent of the 1930′s decade is when the world first saw drum machines. At that particular time, they were commonly referred to as rhythm machines. The first was called the Rhythmicon, and it was capable of producing 16 diverse rhythms, each associated with a specific pitch, either individually, lots of rythms or in any other combination. Despite significant initial interest, this machine did not develop a popular following in the long run and was eventually all but forgotten. The successive generation of drum machines only played pre-programmed rhythms, often those associated with Latin music like mambo and tango.

Even though drum machines were still produced after the Rhythmicon, they didn’t really get into full use until the very end of the 1950s with the debut of the Sideman. The Sideman was the first drum machine ever to be commercially generated out of the factories, and it was developed by the Rudolph Wurlitzer Company, a producer of organs and jukeboxes. The Sideman was intended as a percussive accompaniment for the company’s organs. All through the late 1960s, drum machines were created to accompany an organist. However, beginning in the 1970s, the machines began to find authorization in the eyes of a wider set of people. The chief major pop song to use a drum machine was Little Sister’s cover version of Somebody’s Watching You, which was released in 1970. After that, drum apparatus steadily gained a following and until the present day, they are used throughout the music industry and African music has not been an exception.

Just like keyboard synthesizers, the difference between the old-timer machines and those of the later years is while the previous used analog sound synthesis, newer models are of digital nature in their sampling.Mechanisms. This means that modern drum machines have a distinctly diverse sound from that of their ancestors. Again, like keyboards, this evolution has inspired a number of artists to specifically use earlier drum machines in order use their characteristic sound.

It is noteworthy that approximately over the last decade, drum machines have experienced a decline in use. This is because of the increase in availability of a number of items, including: General purpose hardware samplers, software for sequencing and sampling and music workstations with integrated sequencing and drum sounds.

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Best African Musical Talents Compared (Sought of like Being an American Idol Judge)

Mark M — Tue, 23 Mar 2010 02:26:23 +0000

Cultural diversity and multiplicity of languages in different African regions can arguably be regarded as a deterrent to effective measuring and comparison of talent between the regions. However talent, I believe is relatively easy to measure irrespective of the language used in music or any deeper meaning held in cultural musical compositions. To me, angelic voice in a musician, perfect choreography among other obvious observatory characteristics is enough to judge how a piece of music is despite its origin.

So how best would we classify and rank musicians from different parts of Africa without regard as to where these musicians are from. I think the best approach would be to use characteristics as mentioned earlier that a layman would result to using. Think of any song that lingers in your mind when you are typing up a report or playing tennis; that song that occupies your mind when you are in the shower that you immediately end up busting a tune of the same; that song they play on the radio over and over. That song that everyone is in love with. It’s sought of like you are being asked to vote for a talent on the American Idol.

So here goes a ranking of modern African Musicians alongside a bit of their profile. This ranking is a representation the author’s thoughts, experiences and opinions as pertains to exposure to African Music from different regions. It is also a representation of living and non living African musicians and therefore the usage of the word ‘modern’. As a reader, you are therefore encouraged to comment on this ranking:

(1) Koffi Olomide

Known by a plethora of other names such as Le Grand Mopao, Papa Sukre, Mokonzi, Sarkozy etc etc, Koffi, in my opinion is the artist who has demonstrated world class talent in his composition and leadership. He has been and still is arguably one of the most talented African singer, composer, and director on the African music scene for the past 20 years or so.

Dominating the music charts across the continent and now well known in Europe with a combination of his deep baritone voice, which barely caresses the microphone , sophisticated arrangements , blending old school rumba and smooth keyboard melodies as well as a searing guitar climax. His compositions are classy and appeal to a wide spectrum of fans worldwide. His songs delve deep into a wide variety of topics including love , politics, technology and even religion. In each song he discusses his feelings about such diverse topics while expressing confused feelings about mythical beasts and dream like fantasies.

Names of famous people like Bill Gates , Saddam Hussein and even George Weah have been mentioned. Indeed He himself said you have to understand the words to fully appreciate his songs. His sense of fashion is exquisite. He has a keen sense of fashion and extensive sapeur wardrobe as well as a personality to match.

Koffi got into a bit of trouble sometimes in 2009 when he tried to christen himself another name i.e. Benedict the XVI. His native country men advised him not to try and defile such a good name, Christianity and especially Christian Catholism is highly adhered to in Central Africa. Albeit to this fact, he still is the best of the best in African Music scene. Quartier Latin, his band, has morphed a number of times with the departure and entry of several talented members. In the end it seems that no matter what the group is composed of, Koffi is still capable of leading his Quartier Latin indomitable troops into producing great unrivalled music.

(2) Salif Keita

Unique in his voice and probably even better known for his albinism, Salif Keita hails from western African country of Mali. He is one of the old timers but still belts out tunes as he did in the 70′s and 80′s.

He has a large following in France as well as Francophone countries in Africa. His music is quintessentially West African with influences from both the Americas and Europe.

Additionally, His music blends his Malian heritage and that of other neighboring countries such as Ivory Coast, Senegal and Guinea. In my mind I regard him as one of the best.

(3) Baba Maaal

Well known for his great pitch voice, Baaba Maal is from Senegal. He sings in his native language Pulaar. He is great with the acoustic guitar. His music is very much influenced by his French background where he went school. Still young in his looks, Baaba Maal is internationally well known and has been a great inspiration to young Senegalese musicians.

(4) Youssou n’Dour

Everybody knows Youssou n’Dour, at least if you follow a little of World music. Youssou n’Dour a Senegalese citizen. Remember the song “Seven Seconds Away”

5. Fally Ipupa and Ferre Gola

Also going by a plethora of other names but better referred to in the streets of Kinshasa as DeCaprio, Fally Ipupa is makes heads turn at least if you ask women they will tell you. He is however married, sorry to disappoint the ladies. He made his debut back in the mid 90′s when he did collaboration with Koffi Olomide to sing the hit song “Enternellement”

Koffi did nurture him a bit but needless to say Fally is a talent by himself. He continues to wow crowds with his dances and vocals. Fans try to compare Fally with Ferre Gola, another one of Koffi’s protege. I put Fally and Ferre on the same ranking because their styles are similar even though Ferre is a better composer compared to Fally. This is my equalizing jugdement as much has been said to compare the two.

6. Anjelique Kidjo

Angélique Kidjo débuted her music career in 1991. She is known for her strong female vocals especially when she is rocking in her native Beninese dialect. She defenetely has the regard of an icon in Africa, Western Europe as well as African Diaspora in North America and Canada. Angélique is multilingual and also sings in English has done several collaborations with other musicians such as Youssou N’Dour.

7. Papa Wemba

Also known as “M’Zée Fula-Ngenge or Jules Presley Shungu Wembadio, he was one of pioneers of Zaiko Langa Langa group in the late 60′s when he was in his early 20′s. He is known for his high pitch vocals and is the founder of the Viva la Musica group around 1978. He ias nrutured other musicians under the wings of Viva la Musica such as the Dindo Yogo, Lidje kwempa, Reddy Amisi. One of his best records is none other other than the one he did with Koffi Olomide “Wake Up”. Papa Wemba still is indomitable.

8. Wenge Musica – J.B. Mpiana and Werrason Ngiama Makanda

Wenge Musica 4×4 may have disintegrated and splintered into various teams but its members never seem to be far away from their original style. Originally started by JB Mpiana, Didier Masela, Allain Mpela, Allain Makaba, Tutu Caluji, Titina, Werrason, Adolphe Dominguez among others, its music is still popular among followers in African and beyond. All of the aforementioned and all their protégés have mentored many others in Kinshasa and Europe to stardom as they showcase their never ending talents.

9. Pepe Kalle and Laurent Nyboma Mwandido

Pepe Kalle and Laurent Nyboma Mwandido were the dynamic duo in the 90′s. Pepe with his masculine voice and Nyboma with his trademark silk smooth vocals. Pepe Kalle is no longer with us but Nyboma still performs. He has been accused of not doing as good as he did when Pepe was around but he claims he is his own man. Nyboma combines the guitar skills of Syran Mbenza (another talent of the group) with a warbling voice and together with the exquisite sounds of his late boss; they produced music that still has, to the present day, residual listener-ship

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How do Northern African Musical Stars Stack Out In World Music?

Mark M — Mon, 22 Mar 2010 22:04:53 +0000

Ever paid attention to Mexican music or any Cuban jig and at right after than listen to a song done by the Egyptian artist like Amr Diab? If you thought that the two pieces of music were sought related, almost like cousins you are not alone. Beautiful Arabic language tunes which are essentially what North African heritage is, has had great influence on Hispanic music.

One of the best musical genius of the Northern parts of Africa as mentioned is Amr Diab with his style of music internationally referred to as Mediterranean. He has produced a number of great hits but the most obvious one and a world hit if I may add was “Habibi” released in 1996

Another one of Northern African is none other than Algerian Khaled, the king of Rai music. He gave us hit song “Aicha”. There is quite a lot we can say about Khaled but he is needless to say one of the most popular Musicians in Northern Africa. Another one of Algerian fame is Faudel. Even though raised in France his music is considered an Algerian music icon.

Libya is another place where we can find some big stars notably Cheb Jilani. His music was largely influenced by his upbringing in Egypt where he learned folk songs as a young man.

Rabat and Casablanca are two Moroccan cities that server as hub for great Northern African tunes. Rhany is one of them. His music has a lot Cuban and Hispanic sway as Rhany himself has recorded some of his music in the Caribbean.

Khaled

North Africa musician’s collaborations has been great over the years as witnessed with Khaled, Faudel and Rachid Taha especially in live events. As fans we look forward to even more of these kind of collaboration between Northern African musicians as well as with other artists from even places like North America.

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Eclectic Sounds of Eastern Africa

Mark M — Fri, 12 Mar 2010 04:06:44 +0000

The East African Music scene can quintessentially be summed up as one that has been dominated by modern East African blend of hip hop. Whether in Tanzania, Kenya or Uganda indigenous music styles of modern East African musicians have morphed with the western culture into the more hip sounding East African hip hop.

Traditionally East African music has mainly been known to be made up of sounds like the Taarabu music along Indian Ocean coastal region and Benga music which has been composed of songs performed in local dialects such as Luo, Kikuyu, and Luhyia etc. The reminder part of the traditional East African music has been that of folks like Fadhili Williams of ‘Malaika’ fame and Daudi Kabaka. Both Fadhili and Daudi sang in Swahili and their music was more unifying regionally and internationally as opposed to being localized or ethnically centric.

The music scene in East Africa has also been influenced heavily by music from the Democratic Republic of Congo. With lots of Congolese musicians having settled in Nairobi, Dar-Elsalam Tanzania and other major cities in East Africa over the last 30 years, East African music of all kinds including gospel has been epitomized by the sounds and beats of Kinshasa. Major radio and television broadcasting stations have also over the years continuously played Congolese music and thus this effect.

So what kind of music from East Africa could foreigners outside of East Africa, and in Europe and Americas be able to listen to and enjoy? Well , of course the Malaika song title originally done by Kenyan Fadhili Williams has gone through various renditions by musicians worldwide. There is a variety of East African music that the rest of world does give high value. Gospel musicians such as Esther Wahome has crossed the oceans to gain residual listener-ship in Europe and Americas. A host of other modern artists’ music can also be classified to be top class without a doubt; Ray C, Longomba brothers, Ali Kiba, Nameless just to name a few.

East African music continues to get better. From a young person’s perspective, its influence by more dominant cultures such as hip hop or R&B is not a bad thing. Creativity still abounds

among well known and upcoming artists. Being a region made up of hundreds of cultural languages, East African music continues to be varied as dictated by ethnic lines while at the same time influence of external cultures having a major effect especially as evidenced by demand for eclectic music styles by young people. It will be quite interesting to it see it all as it transpires in the African Music scene down road in the short and long run.

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Soukous Music Revolution

Mark M — Wed, 10 Mar 2010 02:43:59 +0000

A lot can be said about Soukous music, its origin, its major figures and its influence in the world music. Simply stated, Soukous music originated from both of the Congolese countries i.e. Congo Brazzaville and Congo Kinshasa in the 1940’s, 1950’s and the 60’s. It is the music which has had most influence in most sub Saharan countries in terms of radio listenership and overall music artistry in the media.

Soukous music is referred to in different names in different parts of Africa and the world. It is referred to as Lingala music since Lingala or Kilingala is the language of the music. Others refer to it as Congo Music or Rhumba. Whatever its name is, Soukous music culture has remained strong and continues to gain influence beyond Africa.

Being an eclectic mishmash of Cuban music, Rock sounds and off course African rhythms, blended with great Congolese vocal musicians’ talents, Soukous songs make great selections to listen to. Some of the fastest and most talented guitarists have come to the limelight as a result of Soukous. From the like of Diblo Dibala, Lokassa ya Mbongo and off course the latest sensational Wenge Musica Solo Guitarist Flamme Kapaya just to name a few.

Soukous or Lingala music has influenced and helped growth of other types of music especially in eastern Africa and mostly in Kenya and Tanzania. Swahili rumba which is more of Eastern Africa was largely influenced by Soukous music than anything else. Western African musicology and dance especially in French speaking nations such as Ivory Coast and Benin have had their fair share of Soukous influence.

The question is how come Soukous music continues to have such great effect on the African Music scene and beyond Africa? The answer can only be attributed to the talent and product generated thereof and to an old African saying; that which is good markets itself.

The Top Three Most Popular Soukous Musicians or Group of all time:

As a big fan and customer of Soukous music, I could probably say that I know one or two things about who I think has done well in the past and in the present day in Soukous music realm. Without a doubt the late Franco Luambo Luanzo Makiadi’s songs are still playing on the internet across the world in homes as well as bars and restaurants. In my opinion Franco is without a doubt in the same league with Johnny Cash or Ray Charles. He was and still is the grand master. He wins my vote as the best of best out of all the Soukous music old timers.

My second ranking of one of the best Soukous masters would go be no other than the group Zaiko Langa Langa group. Undoubtedly, Zaiko has continuously churned out great talents. These talents read like who is who of Lingala musical culture. Names like Papa Wemba, Nyoka Longo Mzula and or course the entire Wenge Musica entourage including the likes of Werrason and JB Mpiana just to name a few. My second vote would go jointly to this group just based on how it has exemplified nothing but talent over the last 3 decades.

My number three ranking of the best Soukous musician of all time would go to none other than Koffi Olomide. Also known by a plethora of other names (mopao, mokonzi, papa fololo) Koffi has proved all the critics wrong by just offering what the crowd needs from time to time.

African Soukous continues to grow strong and pervade through radio, television and other media. It seems that sooner than later that Soukous will become quite a phenomenon. I am looking forward to that.

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African Music Discussed

Mark M — Mon, 08 Mar 2010 19:20:38 +0000

Hello everyone,

I’ve set up this website as a helper to anyone who loves music from different parts of Africa and in addition likes sharing their knowledge, views or opinions about African music in order to create more understanding of what African music represents in world music.

The website takes a look at what music from different parts of Africa is all about in the contemporary world, its origin and its varied types in different African regions. Arguably, African Music is one of the most influential music in the world. But it did not originate from nowhere.

The fact is different African regions were influenced by a number of foreign musical cultures. For instance many nations in Northern Africa can trace their more recent music lineage back to the Greeks and Romans who once governed over the area. Later there was also a substantial Middle Eastern influence on their music.

Other African regions were similarly affected by foreign music. The East Coast of Africa was heavily influenced by Arabic and Indian music, Taarabu music was born as a result of this eclectic influence. On the same token, Southern, Central and West Africa had been influenced by the music of North America and Western Europe.

Other African music especially from East and Central Africa can be attributed to specific dance forms such as the rumba and salsa, which were founded by African slaves who settled in Latin America and the Caribbean.

Musicology in South of Sahara.

Music from South of Sahara desert or what is normally referred to as Sub-Sahara is more African than regions. Despite external influences, sub Saharan music has always sounded and is always sounding African.

Music in sub Saharan Africa was mainly used as a form of communication stemming from medieval times when reading and writing was not part of the society. It was a way of self expression as well as celebration of different stages of people’s life.

Spiritual beliefs also incorporated music as a way of prayers. This kind of music was typified with specific forms of ceremonial dances. It is often performed by professional musicians who have knowledge and experience with ceremonial music.

Percussive Instrumentation Then and Now In Sub Sahara:

Whatever part of sub Saharan Africa, the drum is the most common percussive instrument and also that was and still widespread in its use. Others such as flutes and even xylophones were also used in traditional African music; however there is nothing more important than the basic African hand drum.

As a matter of fact, there are numerous forms of drums that are played on various occasions. A few of the most popular drums that are used in a traditional African musical include: Isukuti and Ndarama in East Africa and West African Djembe, water drums and a many different kinds of ngoma drum that are played in parts of Central and Southern Africa.

With advancement in technology, so also has traditional African music percussive instruments advanced as well as its users. Old and modern drums while in use are almost always accompanied by singers or choruses who often keep time with, wood sticks, rattles shakers, bells or by simply clapping their hands’ or stumping their feet.

North Africa Musical Influences

North African music was strongly influenced by the Egyptians and Arabs. Even though more of Arabic in nature, North African music still has the same African baritones from the rest of Africa. Traditional North African culture can be said to more skewed towards being similar to the middle eastern culture as opposed to that of Sub Sahara. As a result of musical influence from the middle east, North Africa is a little different from the rest of Africa. North African Music nevertheless is historically important and merits great review by all those interested in traditional music.