Music Monthly Review: Ayobaness + Miriam Makeba
Miriam Makeba – South Africa’s Skylark
Nascente Records -
Out on 21 June 2010
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If you know anything about the late Miriam Makeba you may know The Click Song or Pata Pata; perhaps the commanding Amampondo from Leon Gast’s 1996 Oscar-winning documentary When We Were Kings. The other tracks on this double CD collection show just why Makeba—who died in 2008—was regarded as the voice of Africa.
The tracks listed in this momentous compilation album were for the most part recorded whilst South Africa faced a worldwide cultural boycott due to its racist policy of apartheid.
CD1 is a perfect showcase of the early period in Makeba’s career with its distinctive South African mbube vocal style influenced by gospel, jazz and ragtime. Well-known tracks such as The Naughty Little Flea, sit alongside multi-lingual folk songs and ballads with perfectly fitting harmonies and the versatile voice of Makeba. On Liwaechi, sparse yet powerful Nyabinghi drums compliment Makeba’s mournful Marley-like vocals.
CD1 stands the test of time in a way that the more slowed down, funky and darker beats of CD2 do not. Whilst these politically driven and lyrically astute songs showcase Makeba’s powerful and expressive vocal range to good effect her voice is in some cases overpowered by the music.
Having lived and recorded in the United States in the 1960s Miriam Makeba sympathised strongly with Black America’s Civil Rights struggle and its evolution into a global Black Power movement. This period of her life is reflected in CD2 which has Makeba’s voice and observations on social issues and world politics delivered with distinct music, all soulful and many in South African styles. The highlights are Murtala, Quit it, Malcolm X, and U Shaka . Covers of Gilberto Gil’s Mas Que Nada and Buffalo Springfield’s For What It’s Worth demonstrate an artist who, whilst promoting the culture of her homeland was not at all unaware of the music around her.
As a progressive and politically aware performer producing meaningful music Makeba was in the front ranks alongside luminaries such as Aretha Franklin, Curtis Mayfield and Marvin Gaye. This excellent collection is a timely reminder of her status as an iconic artist. Shaun Hutchinson
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Ayobaness – The Sound of South African House
Out Here Records
Out now
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Ayoba is the phrase from the Rainbow Nation’s vibrant townships that sums up the anticipation and excitement of the moment. With the World Cup about to shine a bright light on all aspects of South Africa’s culture it was intriguing to listen to this 13-track collection – an unexpected voice from the continent – featuring the vanguard of that country’s house music scene.
So forgive my possibly uneducated and probably one-dimensional approach; but to me house music is little more than background noise – a useful palette for rudimentary beats, nursery rhyme melodies, basic raps and Lil’ John style shout outs.
And although this CD is touted as a showcase of the African sounds, township culture, and global club trends that form the basis of a diverse house music scene, this introduction to the sounds of Johannesburg, Durban and other cities doesn’t change my mind.
The beats and melodies are at best ordinary and other than the raps in the native tongues of Zulu and Xhosa township English, nothing sets the collection apart from its global competitors.
Kwaito – which fused house, dancehall and r&b – was the soundtrack to the end days of formal apartheid and the foundation for the country’s developing music industry. The crisp production of each track shows how far it’s come since then. Brief explanations of the lyrics and biographies of the DJs and producers who are driving the music forward are a useful addition to the glossy informative booklet, which comes with the CD.
The title track Ayobaness, all techno beats and heart vibrating bass line, does stand out – more for Pastor Mbhobho’s Flava Flav style delivery and persona. And DJ Sumthyn Black alongside Johannesburg poet Ntsiki Mazwai with Wena and its bittersweet lyrics (in English) of love and loss shouldn’t work in theory – but it does in practice. The intricate drumming patterns of Yes by Mgo; Stjwetla’s Survivor and DJ Steavy’s Kubi (meaning ugly, as in bad meaning good) also catch the attention. Mexican Girl by Aero Manyelo – a driving, trance like cut touches the spot, as do the vocals of Mampinsha in front of DJ Bongz on Bayakhuluma. SHANA (Simply Hot and Naturally African) blends the modern with the traditional on Iyo’londaba.
For the thousands heading to the continent for the World Cup these beats will play a part, but Afrobeat won’t have any problems in defending its crown as the music of the continent. Shaun Hutchinson
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