My current auditory obsession is this remake of Fela Kuti’s 1974 song Lady, by tUnE-yArDs, featuring ?uestlove, Angelique Kidjo and Akua Naru. It is the first single from the second Red Hot compilation, (RED) Hot + Fela, which will raise funds for HIV/AIDS research.
My love for this version is so strong it is almost sexual. Angelique Kidjo is a goddess as always, her lead vocals are full of grunts and gymnastics that call to mind Fela’s energetic stage presence. ?uestlove, the biggest proponent of Fela in mainstream Western music is as ever, the cool backbone of the track. tUnE-yArDs quirky harmonies are just left-of-centre enough to stand on top of the amazing things the brass section, represented by Rubblebucket, are doing. This version manages to inject even more energy into the song, which if you know anything about Fela Kuti and his long musical reign at The Shrine, is quite an achievement. The climax of the vocal harmonies and brass at the end, will make your arm hair stand up and take notice.
Fela’s music was always political, and Merrill Garbus’ (of tUnE-yArDs) choice to populate this song with female vocalists is a political one. The original song was a criticism of what Fela saw of African women’s embrace of Western values.
If you call am woman
African woman no go ‘gree
She go say, she go say, “I be Lady o”
… and introduces me to a dope new artist.
All hail Muthoni The Drummer Queen
From her facebook page bio:
A few things to love about this video
- “This house is not for sale” #onlyinAfrica
- “The only MC with an MSc”
- The dude at the end with the diastema talking to Naeto C (you can’t hear what he’s saying but it still warms my heart)
Bobby Boulders directs this fantastic, proudly African music video
Today I am thinking about female African pop stars, the ones who inspired and interested me when I was younger. Intrepid women who kicked down doors and destroyed barriers with the power of their vocals.
I am thinking in particular of three South African women who made a special place for themselves in the music industry and in my heart.
“Princess of Africa”
Ask anyone who lived in Africa during the eighties and they will be happy to sing some kind of localized version of Yvonne Chaka Chaka’s song Umqombothi. It is a song about home brewed beermade from sorghum or mealie-meal. It is first and foremost a party song, and I have fond memories of watching the adults get drunk and dance to it at parties when I was a child. It is also about the women who made umqombothi, and ran shebeens (speakeasies) in order to entertain the working men and feed their children in the poverty stricken townships. During Apartheid especially, shebeens were a cultural centre, an oasis of peace hidden from the burning South African sun of oppression.
Yvonne Chaka Chaka grew up under that sun; in fact she was the first black child to ever appear on South African television. When asked who she admired most, Chaka Chaka said
“My mother because she has always been there for me. My mother raised three daughters single-handedly on a domestic workers salary. That took great courage and strength. She is my mentor and hero. When I was born in 1965 in Soweto, it was during apartheid, and those were extremely difficult times. My dad was a great musician who could never realize his dream. He died when I was 11 years old. I inherited my talent from both parents, so music has always been in my blood .When I was little I would strum an empty tin and blow into a broom stick pretending it was a microphone. I sang in church choirs. I loved singing. I am blessed that I achieved my destiny, and been able to accomplish what my father could not.”
This fantastic retro chic video and song from Belgian-Congolese hip hop artist Baloji may sound familiar to you (or your parents). The song is a new take on that classic song by Lingala godfather Grand Kallé (Joseph Kabasele)
play it in your car and make your father happy.
Baloji’s album “Kinshasa Succursale” features veteran Congolese musicians and lots of stylish historical nods and political questioning that one would expect of a cosmopolitan and conscious African artist of his calibre.
“there is a monopoly of certain African musicians who have dominated the music scene in Africa. These artists make loads by advertising and promoting the political agendas of local and regional leaders and businesses in their music. In many ways they are part of a musical elite. Young musicians don’t get a chance to be heard because music, especially in the Congo is somewhat political. So for the artist who is making music for music’s sake, as a form of self-expression, or living above repression, or to inspire, the only way to be heard is through the Internet.”(source)