Wednesday, December 3, 2008

Busi Mhlongo Urban Zulu

Almost alone among contemporary South African musicians, her songs tell us of the struggle for existence, the destruction of traditional culture and the need to 're-invent' tradition in the context of the new situation. In "Urban Zulu", Busi has succeeded in melding traditional Zulu music into a new one that informs us both of its roots and of the concerns of contemporary South African women. Based on a traditional Zulu musical form, Maskando, "Urban Zulu" is revolutionary on two levels, firstly it's being sung by a woman and secondly, it extends the traditional into the contemporary without losing anything of its roots.
Fighting with cancer for a long time,now she is better again and is touring. I only can hope that she will produce a new album soon


01: Yehlisan'Umoya Ma-Afrika [Afrikan Nation, Calm] (Mhlongo/Ngcobo/Ngwazi)
02: Yapheli'Maliyami [My Money is Gone] Mhlongo/Ngcob/Ngwazi)
03: We Baba Omncane [If You Don't Obey Your Parents] (Mhlongo/Ngcobo/Ngwazi)
04: Ukuthula [Live in Peace] (Mhlonog/Ngcobo/Ngwazi)
05: Yise Wabant'A Bami [Father of My Children] (Mhlongo/Kanza)
06: Uganga Nge Ngane [You're playing around with this child] (Mhlonog/Ngcobo/Ngwazi)
07: Ngadlalwa Yindoda [He's toying with me] (Mhlongo/Ngcobo/Ngwazi)
08: Nguye Lo [He's the one] Mhlongo/Ngcobo/Ngwazi)
09: Zithin'Izizwe [What are people saying about us?] Mhlongo/Ngcobo/Ngwazi)
10: Awukho Umuzi Ongena Kukhuluma Kwawo [There are problems in every home] (Mhlongo/Ngcobo/Ngwazi/Edwards)
11: Oxamu [The Crocodile] (Traditional)


Acoustic Guitar - Mkhalelwa "Spector" Ngwazi
Bass/bass concepts - Themba "Ntshebe" Ngcobo
Acoustic 12-string Guitar - Umfazi Omnyama
Concertina - Mphendukelwa Mkhize
Drums & drum concepts - Brice Wassy
Keyboards & programming - Will mowat
Percussion - Sydney Thiam
Backing Vocals - Thobi Mghobozi, Phika Mnyandu, Jabulani Mthembu, Mzonjani Shezi, Mkhalelwa Ngwazi, Themba Ngcobo
Backing Vocals - Siphiwe Kumalso, Xolisa Gqoli, Swazi Dlamini, Celiwe Mhlongo, Linda Gcwensa, Siphiwe Khanyile (Track 10)
Electric Guitars - Jack Djeyim (Tracks 1, 6, 7, 8, 9, 10)
Kora - Moussa Kanouté (Tracks 1, 2, 4)
Bongos - Mabi Thobejane (Track 4)
Marimba - Simpewe Motole (Tracks 1, 2, 7, 8, 9)
Voice - Mabi Thobejane (Track 1)
Bass - Hilaire Penda (Tracks 2, 4, 7, 8, 9, 10)
Bass - Noel Ekwabi (Track 3)
Acoustic Guitars, lead & backing vocals - Lokua Kanza (Track 10)

link ; part 1
part 2

Monday, December 1, 2008

SOsome more afrobeat

IndigiDisc, 2001

"Simply said, society blooms when each of its members learns to place the group's interests above his individual interest." From the album liner notes for We before Me.

Lagbaja is an artist who is submerged in meaningful mystery. In Yoruba, the word "lagbaja" literally means somebody, anybody, nobody-in-particular, a name that focuses the audience on the ideas behind the music rather than the personality of the musician. In addition to this nominal distancing from individual identity, Lagbaja also always performs with his face covered thus, physically disguising his identity while making his persona available for all. With these identity-obscuring techniques, Lagabaja at once symbolizes the relevance of his message to peoples of Africa, while at the same time showing the tendency of the West to condescend toward or even forget African countries and cultures in the cycles and considerations of international events. Coming from a faceless and nameless critic, the poignant concepts that underlie Lagbaja's music are allowed to drift through the masses, carried by their unstoppable rhythms and transcendent melodies.

We before Me is a compilation of songs released by Lagbaja in 2000. The musical form in Lagbaja's work bears the definite imprint of afrobeat, the musical style created by Nigerian superstar Fela Anikulapo Kuti decades ago, but it also contains traces of highlife, juju and more traditional African music such as Bata drumming. Lagbaja's music also incorporates rhythms and melodies inspired by Western genres such as rock, funk, and jazz, while continuing to push the boundaries of these traditions by using electronic beats and samples. With all of these influences and histories brewing in his musical pot, Lagbaja has truly created a sonic stew that achieves what only the best in music can a successful call on the past and present combined with a visionary eye toward the future.
by Hal Hixson


Monday, October 27, 2008

The Allenko Brotherhood Ensemble

Afrobeat originator Tony Allen, under the name The Allenko Brotherhood Ensemble, gets his famous drumming patterns put through the ringer by various electronic artists. The back cover promises Afro-centric electro grooves – and it’s quite accurate. The tracks don’t stray far from their African roots, which results in some fascinating combinations. The Son of Scientist, for instance, invite Eska to provide vocals to the dubbed out “The Drum,” while the Cinematic Orchestra makes “Brotherhood” a piano- and rhythm-driven track, which gets progressively frenzied. Several artists here -- Boozoo Bajou and Jeff Sharel, for instance -- are known for their adaptation of African music so it comes as no surprise that they contribute tracks. But there are a few surprises: the Troublemakers doing a dark and jazzy soundscape, or Kirk Degiorgio’s Off-World Ensemble doing tech-funk. A fitting tribute to one of the rhythmical masters.Photobucket
Tony Allen is the rhythmic godfather of afrobeat. His polyrhythms and percussion mastery helped to define the genre and anchor it to spirit of dance. Allen's command of syncopation on the snare drums and frenzy behind the kit are synonymous with the movement of "afrobeat"
It's all to do with that unmistakable beat, the one that roots you, props you up and drives you forward. It's dark, it's futuristic, it's funky. It's sexual, irresistible, seductive.
part 1 320kbps-----

part 2 320kbps------

Afrotunes - Contemporary Music from Africa

Welcome to Afrotune
A new blog created to promote modern african and afro related music.
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