Showing posts with label Tanzania. Show all posts
Showing posts with label Tanzania. Show all posts

Friday, May 01, 2020

PAYOM: The World's Oldest Continuously Inhabited City (?) And All That

If one were to time-travel in the dark to a distant parcel of the universe, and there come upon a livable space with many continents and many ancient cities not, uncannily, unlike ours -- with hints that those who had ever been there, ever passed by, were very much us -- and then have it pointed out to no one in particular the most ancient city of them all, with a name lodged in one's deep memory, that would be a day to never want to let go.

If one were to so travel in the night, what would one say upon finding the most ancient of them all? What thoughts, what thoughts, would one have, there in the impossible distance?


Defining a city: See Joshua J. Mark (2014) "The Ancient City" Ancient City Encyclopedia.


Place-names are tell-tales. They are hints, if not signs. Signs of a past life which we can decode only archaeologically -- and perhaps genealogically, so to speak -- if there's been too much passage of time (if time has had too much passage, that is, because we arrive on the scene too late or too lackluster or quite lackadaisically). We remember too little day-to-day, as it is.


Place-names are signatures, afterglows, of those who have lived -- and who lived -- there, when/where that place got its name. Or perhaps thereafter, in which case they lacked the mandate, the power -- or merely a good reason -- to change it. The vernacular of the history of places is thus that (is a slant symptomatic of the hard-driving hand) of those who do or who control the writing. There are places we cannot go back to, but which are us -- in the spirit(ual) sphere.


That ancient place, Payom -- which is nowadays known as Faiyoum or Fayoum -- is one such place. It was come upon as the long-winded Nile reached near the end of its journey and approached its own mouth. Indeed, all are agreed that Payom was and is the Nile's own creation (following an epic rainfall season in the Great Lakes region and Ethiopia far, far upstream; and that it is the dwellers who first settled there so long ago that gave it its lasting name, in their own language. 

Ancient Egyptians, to whom their god Thoth (sometimes called Atum) had gifted the art of writing, heard the Nilotic word Payom and faithfully inscribed it in their hieroglyphic record as pꜣym.  Incidentally, linguistic experts have affirmed that ancient Egyptians did not use any vowels (that is, a, e, i, o or u) in their written texts. In at least some Nilotic languages, the word thoth means plentiful (or a plenitude). On the other hand, the roots of the word Atum are tim, timo or (among Kenya's jo-Ugenya even now) tum -- all of which reference the English word do, or the act of "doing".  As a name, therefore, Atum is an epithet, an endearing a meme, attached to one who has proven in practical ways to be a doer of no mean achievement.

Read: From Payom to Faiyoum

In a Nilotic language I know and well-enough speak, pa is, in some places now (but not in all) an archaic word for "place" or "place of". Yom has resisted all spatial and temporal pressures to turn archaic, and remains a word for soft, as in a baby's face, or soft earth. Payom means soft earth or marshland, or a swampy place. Sometimes Pa means place of, as in Pakwach (place of leopards, or leopard's lair); or "people of", as in Padhola.  There is indeed another place called Payom nowadays, much farther south in South Sudan: See Map

For lexical reasons, it seems obvious, Pa has often flipped and become Pu, as in Pubungu (place of trees and/or thick undergrowth). In such a place, predators may lurk; and from it they may attack the unwary both slyly and at will. Adults teach the children to move with extreme caution thereabouts. In northern Uganda, far more so than in Kenya's and Tanzania's lake-regions, all these Pa and Pu prefixes (so to speak) continue to be components of living and robust Nilotic languages.

READ: Fayum Towns and their Papyri


READ: Faiyum Artifacts

READ:  Kom El Hammam

#Payom #PayomCity


REFERENCES
--Clark, J. Desmond, Ed. (2014) The Cambridge History of Africa. Volume 1: From the Earliest Times to c. 500 BC. Cambridge: Cambridge University Press.
--Egypt's Mysterious Book of the Fayum
--Mark, Joshua J. (2014) "The Ancient City" Ancient City Encyclopedia.
--Wilkinson, Toby (    )  The Nile: Down River Through Egypt's Past and Present. Amazon.com (Find by googling Payom)


Tuesday, May 08, 2018

MUSIC (AfroBeats): Yanje by Ommy Dimpoz ft. Seyi Shay


It is a 'season' of invisible tears here, in Yanje, which flow copiously in detectable emotional directions. A riveting melody marks the start of this conflicted and deeply moving reunion. It stays with it to the end, and tempers the pervasive brooding. 

A troubled reconnecting of lovers is what the song is all about. Remembered and still raw feelings of betrayal make it all painfully tentative and defensive. Through all the hurt and heartbreak, and clumsy apologies, love struggles still to find a firm footing and the clarity to roll back time and erase all the bad stuff that still lingers. Like all the days through which she was alone and stir-crazy, even, and beside herself with anguish.

Sexy Seyi Shay now joins, via Yanje, a small group of Nigerian artistes who've begun to add Swahili lines to their lyrics. I'm thinking of Yemi Alade and Tiwa Savage, in particular. She does so with surprising finesse, and frankly to greater effect than I've heard in earlier attempts by other artistes. Hers (as the artiste) is truly funky -- it's acScented Swahili.

The clip's blurb informs us that the song has a third language -- besides Swahili and English. It is Kinyarwanda, which presumably gives us the song's title as well.

How the two singers, he from Tanzania and she from Nigeria, found each other -- so improbably, it seems -- for this amazing clip will be a mini-thrilla in itself when the tale is told. It's a glorious aural and visual match. The voices, and the instrumentation, are an unceasing delight.

Click here to watch the clip


Thursday, May 03, 2018

BONGO MUSIC (Tanzania): Wet by Vanessa Mdee ft G Nako


Vanessa Mdee and G Nako, both from Tanzania, have dropped a finely crafted April (2018) song, titled Wet, that's sure to cause ripples of all sorts across the expansive African music universe. 

The wet and sweat memes about which they sing with such high spirits and so much naughtiness is deftly inter-weaved with tropical (rain-forest) images and fine feline moves to deliver a superbly up, up, upbeat audio and visual ambience. Everyone's plainly having a good time.  

Wet/Sweat, sung mainly in Swahili and spiced with English phrases and lines (and vice versa), has a sizzling Bongo fLava flow, too. On all counts, the accompanying video clip delivers a hi-energy and superbly entertaining performance, with non-stop cabaret-style verve -- all under the watchful eyes of Director Justin Campos.

The beat is superb, and the rhythm (both vocal and instrumental) is all-enveloping. The whole do is spearheaded without a seam by the irrepressible Vee Money. Her piercing "O nana" shout-out has a seductive tropical charm. Without a doubt, G Nako also plays his co-star role with great style and self-assurance. 

There are no holds barred in this boundary-extending clip, all told; but none needed to be. All that we have we had to have. And so art advances along this line, as it does along others, as we watch 
and savor.

Click here to watch the video clip


Sunday, February 04, 2018

Up in the Air with Rosa Ree



T
he tunes and the beat that go with Rosa Ree's defiant and self-loving rap, Up in the Air, will draw warm attention from 'most everyone. This gives her, the "Lyrical Disease", the platform to take on the world, with her brand-building phrase-blocks and un-quotable expletives: "I'm a pinnacle". "Fearless." "Nyota yangu inang'aa". And such. Detractors be damned. The band is her truest army, and follows her every command. It marches invisibly, and provokes animated dancing, in goose-steps with her. All delectably.

Click to watch the video

She's already perched on the rooftop. So what's that? This petite rebel-girl from the slopes, foot(prints), of Mt. Kilimanjaro has a notion much, much higher. It's something like levitation that she's probably looking for on the way there: Up, Up, Up in the Air. Something on a grander scale; much more grandiose, even. Her strategy? Her immediate targets? Don't ask the Snarling Lioness!



Friday, February 02, 2018

Do Me Good by ExQ ft. Lulu Diva

Do Me Good might sound like a boisterous coming together of yin and yang. But that's only partly true. The noise is from the one, perhaps more inclined to interior monologues, from the far interior. The other's more measured, with a coastal mien and inclination toward nuances.

Click to watch the video

The whole act is an imaginary expression -- on the one hand rough-edged and on the other smooth and finely tended -- probabilities of sub-Saharan attraction.

The two singers, from Zimbabwe and Tanzania, give it their all. The optics are crisp, with just about one frill. And we have a great tune, in which to wrap up the whole do.

Tuesday, January 30, 2018

"Fresh (Remix)", a Jam Session by Fid Q, Diamond Platnumz and Rayvanny


A strummed guitar sets off this creatively imagined video. It keeps everyone hooked throughout this jamming affair by three of Tanzania's leading Bongo-Musikers. They'd rather rap through this particular engagement. 

Click to watch the video

The beat strings together a sequence -- a montage -- of optics, urban sounds and conversational rap to offer a welcome break from the usual musical fare. Everyone sways along with it, waiting to shout out the designated word of the day: FRESH! And so it goes, and so the 'do' ends all too soon.

The Director has obviously worked hard to give us those intricately woven scenes in which everyone seems so effortless in doing whatever they're purposed to do. 

Thursday, January 25, 2018

MUSIC (Tanzania): Rosa Ree's Dow


Dow
 is Rosa Ree's more than "more of the same" offering. This Tanzanian rap sensation previously (in 2016) gave us that Rap Queen Kong treat titled One Time. It was too hot to handle for many people. A milder version had to be released to preemptively keep the peace, if you like. You can see her no-holds-barred encore earlier this year in Up in the Air, too. But it is Dow which represents a marked enhancement to her craft.

Click to watch the Dow video

So Dow is stylistically so juu, juu zaidi (= so much higher, higher up there). She's more refined and more creative in all important ways: lyrics, dance moves, wardrobe, postures and 'spirit'. The music is more inspired and more enhancing, too. And the band is more adventurous around the all-controlling beat than we've seen before.  

Here is a "Rosary" girl who'd rather not mince words, but is subtly into value/quality addition. And here is a country, Tanzania, which would not have her be not herself. It lets her be. And there are countless folks who love her evolving feline swag and snarl. Yes, swag and snarl. Yes, evolving.

MUSIC (Tanzania): Quick Rocka and Mimi Mars Get "Down" in Great Style


With Down, sung in both Swahili and English, Quick Rocka and Mimi Mars (both Tanzanian) deliver an engaging dance-floor hit. The tunes are superbly primed, with a distinctly urban slant.

Click here to watch the video

The dance "troupe", tastefully threaded, does its thing in sophisticated style -- as the video amply reveals. The tone in the whole do is all laid back.

The success of these two artistes is indicative of the regenerative process which the city of Dar-Es-Salaam (and Tanzania as a whole) continues to leverage in order to remain creatively ahead of the pack across Eastern and Southern Africa.

Monday, January 08, 2018

Chin Bees' Kababaye


Chin Bees are an upstart group with all the self-assurance needed to get their voice heard on this increasingly star-studded continent of ours. Kababaye demonstrates that their art runs deep. It is only slightly less boisterous than Pepeta, but just as inspired -- and just as finely feathered. It is more thoughtful, and even more cerebral. But it's just as attuned to the dance-hall.


So we get this subtle idea that the group isn't ever going to be a flash in the pan. It does its thing with no iota of doubt. If that's subconsciously so, that's even greater. Kudos to the social environment which has obviously given them free rein to do their musical thing.

Kababaye goes on for 3:45 minutes, a duration which is longer than the emerging norm these days! Most probably, it's commerce, and commerce alone, that's spearheading the slide toward this new ab-norm.  

Here are the Kababaye lyrics [Mostly in Swahili]

Music: In "Kelele za Chura", Chege and Nandy Trump Frogs' Croaking


Tons of verve here! So much oomph! Kelele za Chura (Swahili phrase for frogs' croaking cacophony) is about the rock of love that ignores all prying eyes and treats all rumor as futile. Chege and the sultry lady, Nandy -- both Tanzanian -- give us O what a sunny treat by the coastline! It's all go go go in a fabulous single.

No, Chege is not Kenyan. 
His name plays tricks on suppositions.
And Nandy is not from, er,
Kenya's Uasin Gishu!


Nandy is the new quantity here. We've seen Chege's ingrained and expansive talent before; in Kaunyaka, for example. But see Nandy, a 'suspected' alien beaut momentarily here from a far planet no one has ever heard of. Praps she was in an advance party from Oumuamua before we earthlings could detect just what was going on. No matter. But when this video first appeared in the first week of February, it was an out-of-this-world sensation. Just see her GO! Lukadem all!

"Wacha waongee!" 
"Aye Baba usiogope! Aye Mama usiogope!"

Lovely sounds! Supple motion! Regard the super-absorbed Banjo Man (and the version of #AfroPop he fronts)! Sunshine!

~~~~~~~~~~~~~

"Abana, waja maneno mingi!
Uyo Nandy ni tata wa gwetu! 
Ni china wamepatilisha gitoko!"

Sunday, January 07, 2018

Music (South Africa): Baby Girl is Cassper Nyovest's Watershed Moment


Baby Girl is a superb celebration of love by South African legend Cassper Nyovest. Vanessa Mdee, the Tanzanian Queen, is the official "Sugar, Sugar" here. She utters not a word in this massive and unforgettable do, which runs for all of 4:27 minutes. Must have been hard!

All smiles, though, Vee Money dances and looks as pretty as she is -- and that's all she does. And yet, isn't this Cassper Nyovest's make-over moment? Most certainly yes! Have we ever seen him in this unreservedly romantic mode? Never! A watershed moment, for sure. A Vanessa Effect, then.  

Click here to watch the Baby Girl Video


Here are the Baby Girl lyrics


Wednesday, January 03, 2018

MUSIC (Tanzania): Chin Bees are a Blast in Pepeta

Released in March 2017, and directed by Rahul Kumar Singh, Pepeta launches with what a dramatic beat! Chin Bees sustain it to the end, in this 3:00-minute spectacle. These youthful Tanzanian artistes, suddenly sprung upon the continental stage literally by storm, are a Tsunami dressed up in full hip-hop regalia. They are here plainly to assert their unbridled artistic presence. Is all. 

They might as well be from LA, if that's a useful allusion in any way. They have a "foreign accent" -- but what's "foreign" to world-beating post-Millennials? And English isn't someone else's language. It's theirs, just as Swahili is. And they love themselves -- just as they are!

WATCH VIDEO: Pepeta

One word runs throughout the song, by design. Its Pepeta. You guessed right, it is the song's title. No one will tire of it -- looks like. Pepeta really means to dribble (or bounce). It subliminally alludes to a precious thing, such as a "diamond" -- or a "pearl". Pepeta is a pearl of a song, looked at one way. Now, dance to it! There should be a conquest of hearts at the end of this supernova of a song -- whenever, wherever, it ends.

Music (Tanzania): In "Bounce", Divas Vanessa Mdee and Maua Sama are in a Cat-spat over a willing Tommy Flavour

Bounce features two Tanzanian Divas with smooth-as-silk voices, and a style and charm to match the whole do: Vanessa Mdee and Maua Sama. It might as well be summer in this suggestive video. Wait, it's always summer in coastal TZ! The third artiste, Tommy Flavour, lives up to his surname, it looks like, with these gals, in a no-holds-barred but gentle and consensual threesome. He's the 'boy-toy'. He's the ball of string the cats love to 'fight' over in this giddily furnished and leisurely hideout -- this burudani. 

Peeps, Bounce gives you an unmissable peep into the proverbial "Girls' Room", which Mama, fearful of something, can only fret and fret about.

Watch the Bounce Video Here

READ: The Bounce Lyrics

Friday, January 13, 2017

Jua Cali and Enika in a Nostalgic Call, "Niimbie"

Play Niimbie {Video}
[Kenya + Tanzania]

There is a song I would like you to hear, and whose video I would like you to watch. It is Niimbie (meaning "Sing for me"). I didn't even know it existed until three or so weeks ago! And I'm surprised that it's been around as long as it has without my being "aware" -- despite the fact that Jua Cali is a household name in his country (Kenya), certainly among his age-mates (whom we, lots of us, live with). It is a lovely production, and the producer's intent was clearly to make it as genuinely as possible a period piece. Jua Cali proves himself a pretty good rapper here. He's really on a roll.


Niimbie is, at root, a nostalgic and truly moving story-telling, a remembrance of the singers' more formative years -- though with accent on Jua Cali's. The feelings expressed are not to be spied on the singers' faces, but rather in the words that they put forth -- with puzzling 'religious' conviction, even. They are in the tunes as well, which we hear. 

That the beat is suggestive of something that older folks more clearly remember from a past more distant than Jua Cali and Enika really can, is no matter here. It is really not so surprising when you dig into it that this is indeed a story of the difficulties.Niimbie is a truth-telling. The story starts, coincidentally, in Orwell's 1984 for these millennial types who, as a cohort, insist that even events recorded just one year before their birth are plainly too "too long ago". Perhaps all generations think the same way. Niimbie is, regardless, a her/history. First recorded as audio in 2009, it 'dropped' as music video only in 2010 or thereabouts.

E
nika's voice in Niimbie is pure gold. It is nimble and deeply evocative. It carries us along with her in this return to a past life of millennial pain -- relived now only so, perhaps, it can be communally exorcised after all these years. As she sings in the song's more lyrical lines: 

"Tuli jikaza-a,
Mwishowe tukaweza.
Tuli sumbuka-a,
Mwishowe tukapenya."

[We hustled,
In the end we did it.
We suffered,
In the end we broke through.]

"Pote tunaenda,
Wote watupenda."

[Everywhere we go (now),
Everyone loves us.]

In 2009 and 2010, though, change (or material success) was not happening quite as expected, or as narrated, or as it could have. In many respects, that was pre-history, but one they remember without having it told to them by others. It is only in 2016 that serious progress appears to have begun in doing justice to Kenyan artistes, but the details and end-results are another story in themselves.

In "a word," then, Niimbie is delightful rap wrapped in melodic vibes of a kind. That's the form. The content is this living history told and retold by the very same masufferers (as one Ruto would say) who lived it -- under our very noses, and in our shadows, so to speak.

So, who's Enika! We've been hearing a fair amount about Jua Cali on various Kenyan media, but who, and where, is Enika? What ever happened to her? It so happens that she is in fact a Tanzanian songstress. I got to know that only yesterday. And I've also come to know that Niimbie was not her first shot at fame, nor her last. Still, from what one knows about the current scene in Tanzania, and despite references I have just seen about her subsequent performances, this once-rising star has ostensibly dimmed with time. Can she make a glorious come-back?

READ: A brief on Enika






UPDATE: New YouTube video link to Niimbie inserted on July 27, 2020



Saturday, January 07, 2017

Tanzania's Dully Sykes and Harmonize Impress in Inde

The song Inde, given to us by two young singers, Dully Sykes and Harmonize, epitomizes as much as anything else the emergence (the arrival) onto the continental stage of a swagging, super self-confident peer-group of Tanzanian millennials eager to shake things up more than a little bit, musically, and thus claim a place on the mountain-top. Indeed, they are eager to explore modes of expression quite discrepant with, and quite unexpected in, Dar-Es-Salaam's cautious cultural infrastructure, which, ironically, has produced them just as they are artistically, and seems willing to let them be. 

Together with a good number of other music videos, Inde symbolizes a brave new world for Tanzanian artistes -- who play second fiddle to no one. They are a veritable energy source: Swahili, the language in which they sing, is predominantly theirs (and as 'pure' as you want it delivered). The genre, Bongo Flava, is theirs. The threads? The sky's the limit to how they can put them all together. Fine threads, then, and fine tunes reveal both good taste and conscious grooming. 

Their fan-base, which devours all this, is large and devoted and getting larger, and always has been. It gives them strength and drive. And, whatever the explanation, they seem more successful in their talent-related entrepreneurial pursuits than their Kenyan and South African counterparts. Indeed, more so than their own country seems to be still in the eyes of many observers, given its lingering socialistic past.  

Overall, then, Inde is a winning song. The set is neat. The singers' and dancers' stage-presence is truly attractive. I see fine, attention-grabbing moves that really add flavor to the whole thing. This almost masks a consistently jarring noise in the background -- emanating, it might seem, from a tone-deaf source. But it's almost certain that this vexation is computer-generated percussion gone awry. One does frequently encounter this tendency to generate instrumental sounds in that way among musicians looking to cut stifling production costs. All that said, Inde definitely deserves a place among Africa's Top 40 Pop Songs of 2016.





READ: Inde Lyrics

Monday, December 26, 2016

MUSIC: The Nigerian Voice

I.
In a piece on Patoranking's Make Am which I posted on January 1st this year, I made these remarks on the sounds that typify Nigerian music for us non-Nigerians: 
"...one of the most attention-grabbing songs out of Nigeria right now (certainly to me), and which I think is distinctly Nigerian and truly accomplished in its vocal heaves and turns -- the kind we other Africans will hear, perhaps in a supermarket or on radio, and quickly say "That's Nigerian" -- is KJV's Common Sense (forget the awkwardly hilarious 'bedroom' shenanigans which we may blame on the story-line, but which might in turn be blamed entirely on a portion of the lyrics). It's such a memorable song."
Make Am itself, I thought, had a distinctly Great Lakes and Rivers ring. I still do, but that's another line of thought. What I want to say a little more about here is what I see as the Nigerian Voice in African music. There is a background to that, too, which we should touch on as we proceed.

Nigerian musicians, individually and collectively, nowadays seem to produce much more music -- more good music -- in any given month than most Eastern and Southern African musicians, for example, do in a whole year. They currently dominate in the same way as their compatriots do in cinema. This dominance is, of course, helped along by two TV channels with a continent-wide reach:

1. HipTV, which is controlled by a Nigerian magnate, as I understand.

2. AfroPop, which to many viewers is Nigerian in all respects (including 'musical taste' and preferences) though it supposedly has Angolan and Portugues roots and/or links. AfroPop hardly gives airplay to Angolan, or Lusophone, music. 

These two channels, together with MTV Base and Sound City (both of which still have a distinct bias for European and US music) already have a tight grip on the DStv's musical ecosystem -- which is the only pan-African network "in town." To non-Nigerian artistes and the wider African audience, if you don't appear via DStv, it's like you don't exist at all. If Kenya is anything to go by, national TV channels are clueless about giving structured airplay to artistes who deserve regular exposure. 

It may be a chicken-an-egg paradox: How do you launch such a TV program if there are not enough 'straight-off-the-oven' songs for a 24/7 proposition? Well, Trace Africa, the fifth music channel, provided the emphatic and perfect answer this past September with its split into Trace Mziki (for Eastern African music) and Trace Naija (for the Nigerian audience, but available to East African viewers as well). But more on all this on another occasion.

Given all the changes (some potentially seismic) that one suspects lie ahead, the Nigerian Voice continues to be the leading voice in African music today, but perhaps not for long. 

II.
It wasn't always the case that this Nigerian Voice dominated the airwaves. This dominance goes back only about four years, at most. First, as far as I can personally remember of the preponderance of the songs we heard in colonial Nairobi day-to-day, and specifically on public holidays when other distractions were largely muffled, it was South(ern) African (Miriam Makeba, Hugh Masekela, DorothyMasuka and others). 

In the late Fifties and early Sixties, Congolese music began to erode the South African influence, and by the mid-60s had practically carried out a sweeping overthrow -- aided by autonomous accomplices in Kenya's lake region. It was not just the melody and the tunefulness, it was also the opportunity it gave for impassioned, up-close dancing. Thereafter, it reigned for almost forever, fusing with local styles to spawn a highly influential Eastern African sound that came to be known as Benga. 

READ: 10 Greatest Musicians From South Africa

West African music (spearheaded by icons like Fela Kuti, Manu Dibango, Osibisa and all that High Life stuff) began to assert its influence in the early Seventies. It did not completely displace Congolese music, however. Pockets of resistance stayed with Lingala, particularly in proletarian and rural areas. But it can still be said that this West African sound soon morphed in two ways: (a) It became less "High Life" as influences from the Caribbean kicked in; and (b), it turned, in the period since c. 2013, more emphatically Nigerian. This Nigerian era is in turn already under threat -- certainly from increasingly assertive and reflective Eastern African voices. More on this in conversations to follow. 

[incidentally, as I began to write this blog post on Christmas Day afternoon, Trace Mziki (Channel 741 on DSTV) had a retrospective on African legends -- #FOCUS MZIKILEGENDS -- featuring a number of Southern African icons such as Miriam Makeba (she who was made famous by a classic Tanzanian song, Malaika, which she made famous), but also latter-day heroes and heroines from both South Africa and a larger swathe of the continent, including Brenda Fassie, Lucky Dube, Alpha Blondy, and Papa Wemba]  

READ: Makeba's bio and the Malaika Lyrics in Swahili and English translation


III.
The Nigerian Voice has a multiplicity of forms and content. It is a self-confident voice. Its lyrics are the most creative in both their written and sung forms, aided by the fact that pidgin is the almost inescapable component of the language used in any popular song. Pidgin has built into it the most linguistically confounding, intriguing, mesmerizing, frustrating and undecipherable expressions and turns of phrase -- certainly to the hapless outsider. It adds a flavor to the songs that's not encountered elsewhere, and is thus most bewitching.

This Nigerian Voice is supremely creative. It is gifted with the most poetic language, rivaled only by Lingala. The artistes mix and match the words they have had at their disposal since childhood in the most astounding ways. Thus they really, collectively, bear the African music flag still.

To highlight this varied voice, here's an A to Z sampling (and only a sampling) of Nigeria's Musical Pantheon -- The Triple Dirty Dozen of sorts:

1. Adenkule Gold ~ Orente, Sade
2. Boj ~ Paper, Ire
3. Burna Boy ~ (w/ AKA,...) All Eyes On Me, Soke, Pree Me
4. Cheezy Chi ~ She Need Am, Monica, MAYE
5. Chidinma ~ Fallen in Love, For You
6. Davido ~ Fans Mi, Ekuro, Gobe
7. D'Banj ~ Emergency, Knocking on My Door, Extraordinary, 
8. Di'ja ~ Awww
9. Don Jazzy ~ (ft. Reekado Banks x Di'ja x Korede Bello) Adaobi, (ft. Korede Bello x Tiwa Savage x Dr. SID x Korede Bello x Di'ja x D'Prince) Dorobucci, (w/ Timaya) I concur
10. Falz ~ (ft. Reekado Banks) Celebrity Girlfriend, (ft. Simi) Soldier, (w/ Simi) Chemistry
11. Mr. Flavour ~ (ft. Tiwa Savage) Oyi Remix, Gollibe, (ft. Chidinma) Ololufe 
12. Humblesmith ~ (ft. Mr. Flavour) Jukwese, (ft. Davido) Osinachi
13. Iyanya ~ (ft. Don Jazzy x Dr. Sid) Up 2 Sumting, (ft. Mr. Flavour) Jombolo, Type of Woman
14. Kiss Daniel ~ Laye, (ft. Davido x Tiwa Savage) Woju, (ft. Sugarboy) Upon Me
15. KJV ~ Common Sense
16. Lola Rae ~ (ft. Davido) Biko, One Time 
17. Korede Bello ~ Mungo Park,  Do Like That, (ft. Tiwa Savage) Romantic
18. Mr. Eazi ~ (w/ Eugy) Dance for Me, (w/ Eugy) Body, Hollup 
19. Olamide ~ (ft. Don Jazzy) Skelemba, MVP, Story of the Gods, Bobo, Melo Melo, (w/ Stormrex) Walk With Me
20. Oritshe Femi ~ (ft. Reminisce) Tomorrow, Igbeyawo, (ft. D'Banj) Double Wahala Part 2, (w/ El Phlex) Aiye Mi, Awoo Ewaa.
21. Patoranking ~ Daniella Whine, (ft. Wande Coal My Woman, My Everything)
22. Phyno ~ Connect, Nme Nme, (ft. Stormrex) Nnunu, (ft. Olamide) Fada Fada
23. PSquare ~ Bank Alert, Beautiful Onyinye
24. Niniola ~ Jigi Jigi, Akara Oyibo, 
25. Rayce ~ Tetela, Wetin Dey 
26. Reekado Banks ~ (ft. Don Jazzy) Sugar Baby, Oluwa Ni, Katapot
27. SDC (ft. Poe x Boj) ~ Feel Alright
28. Sean Tizzle ~ (ft. Tiwa savage) Sho Lee, Igi Orombo
29. Seyi Shay ~ Jangilova, (ft. Olamide) Pack and Go
30. Simi -~ Tiff, Jamb Question, Open and Close
31. Skales ~ Shake Body, Temper
32. Skuki  ~ (ft. Olamide) Peteru, (ft. Tiwa Savage) Gbemileke, (ft. Phyno) E Pass Go
33. Tiwa Savage ~ My Darling, Wanted
34. Vector ~ EMI, (ft. Phyno x Reminisce x Classiq x Uzi) King Kong Remix
35. Wizkid ~ Ojuelegba, (ft. Femi Kuti) Jaiye Jaiye, (ft. L.A.X) Caro, (w/ Justine Skye) U Don't Know Me
36. Yemi Alade ~ Johnny, (ft. Phyno) Taking Over Me,


IV.

If, by way of a conclusion, I were to choose out of the 36 (and others not mentioned) the half-dozen artistes most representative of the Nigerian Voice today, I would single out these: Oritse Femi, Olamide, Phyno, Yemi Alade, Simi and Tiwa Savage. So there you are.






Monday, December 19, 2016

MUSIC (Tanzania): Vanessa Mdee Stars in Cash Madame


The sound clip with which the Cash Madame video starts is from another song, Juu, which Vanessa (a.k.a. Vee Money) sang with fellow Tanzanian called Jux. It is a sly marketing gimmick for Juu, which you won't recognize if you haven't heard the song. And Juu, as connoisseurs will notice or remember, is a blatant undoing (deletion, even) of One More Night, its fore(shadow), in which Jux clumsily appears, but not with Vanessa. It is all rather tell-tale. 

Cash Madame's opening images are unreal. Forget about 'em. The arrival in broad daylight of four skimpily-dressed beauties in a pink, convertible Mercedes, armed only with a pistol and a metal bat and overwhelming harmlessness -- it's unreal. To fix, thusly armed, to rob a bunch of hard-core goons of their hoard of hard-fought cash (there u r) -- it's hilarious. And then, and then, to get away with it without a sweat (without a barrage of four-letter words and finger-flicking chasing after 'em) -- forget it. Never happened!

The real treat begins soon enough, though, 50 seconds into the video, with Vanessa the obvious heart of the party. It's all make-believe for Cash Madame, who has more dough than time to figure out how best to spend it. So, unlimited fun is to be had, day into night, without a worry, or hurry. And the fun images that float to-and-fro before our very own eyes are indeed fun to watch. A black 'dame' in flowing blonde hair, her curves all in the right places, charmingly all-smiles, sits on that hula-hoop of a thing and precariously swings -- hanging and turning by a "thread" from an invisible ceiling -- all to the tunefully 'dutiful' refrain of "Cash Madame". It's all a thing!
   
Eye-catching, almost still-images of all the goings-on leave a lasting impression of hauteness, cat-like coolness and all-round fashionista demeanor. It's like Cash Madame and her friends were all out for a weekend splash on select photo-shoot locations downtown. We're let in on the act after the fact.


While the video displays considerable creativity, the vocals and the other sounds are not attention-grabbing. They do not soar. They are modest. But they blend well into the bigger scheme of things, and the choreography of ever-shifting feline images is masterful. In the end, what stands out is that; that is, the artistry of body motion cloaked in elegant female voices.

I think Cash Madame secures Vanessa's status as the leading African songstress in 2016. She's has had three hits: Niroge, Juu and Cash Madame (Dume Suruali, on the other hand, isn't "so fun"). All this in a year when others dimmed, despite impressions: Yemi Alade (despite much activity), Tiwa Savage, Seyi Shay, Simi, D'ija and Skalled. More broadly, there was limited evidence of top-notch diva creativity out of Southern and Eastern Africa. Arguably second to Vanessa in 2016 was Nigeria's electrifying Lola Rae. Uganda's Shebbah also stood out in a consistent and remarkable way.




CLICK: Cash Madame Lyrics


Thursday, December 15, 2016

MUSIC (Bongo Flava): Salome by Diamond Platnumz and Rayvanny


Salome is sung in Swahili by two Tanzanian leading lights (Diamond Platnumz and Rayvanny). It was published in the second half of 2016 -- on September 18th, to be precise. It is one of at least two great productions in which each has been separately involved this year: Diamond in Kidogo, Bado and Kokoro, for example; and Rayvanny in Mugacherere and Natafuta Kiki.

Though it has a simple storyline, Salome, laden with melody and colorfulness itself, is simply one of the best songs out of Africa in 2016. It is captivating, first aurally and then visually and then both. 

The Sounds: when the song starts, it first rouses the attention, of whoever's around, with sung and played tunes. If you hear Sarome, instead of Salome, just know it's one and the same beautiful thing. Something familiar and homegrown in those tunes rings in a receptive communal ear (primed as it is with a rich array of apt sensibilities and even nurturing social capital), awakens it, which awakening further connects the listener to the blended emanations: beating drums, sensitive and self-assured guitar-play, whistle-blowers blowing away at measured intervals from where the song begins to wind down, sunny and air-spicing trumpet sounding comradely out of the blue, vocal cords in riveting melody and a celebratory mood. Lyrics steeped in intricate word-play and nuances of meaning. Everything becomes, in that orchestrated and invisible way, one big ball of harmony and good feeling. That's it if you are stuck on audio; but if you're viewing too, much more comes your way.

The Visuals, colorful and all so pleasing to the eye, are in harmony too with the sounds (and the sounds with them, as with each other). The men, in their obetoo legs, are all dressed at the start in coastal Swahili style -- first in stylized and more regal white kanzu, and then in the seafarer's garb, set in sober white and blue. Else, as there is progression in the story, in more assorted attire as perhaps the director wills. The guards' 'uniforms' evoke an intriguing past: is it Shaka Zulu's elite guards, or Lobengula's, or someone else's farther up north? Nobody really knows?  [So we still have a long story to tell].  The dancing ladies -- calm, feline, eleganza itself -- are red, red hot in vital ways: looks, dress-code, spirit, dance-floor moves. That's all.

All in all, then, Salome is a wholly melodious song at both its vocal and body-textual cores. Not to mention  the contrasting colors in which the lady-dancers wrap themselves. 

Here's the video. Si mjienjoy!



Click here for the Salome lyrics, written in Swahili 


Here below are two earlier videos which can be seen as the precursors of Salome, the first (Skelemba) is a Nigerian production, the second (Sijazoea) is made in Tanzania. Both are PGP (pretty good productions). Salome already had over 10 million YouTube views after only three months, in mid-December 2016. Skelemba, a 2014 production, had just over 1 million. Sijazoea , published in late May 2015, had 578,498 views. People forget easily, but Skelemba was a wildly inspiring and all-round entertaining offering. Yet, there you are:

1. Click here to watch Skelemba by Olomide ft. Don Jazzy

2. Click here to watch Sijazoea by AT 

Salome is a wholly melodious song at both its vocal and body-textual cores. Not to mention  the contrasting colors in which the lady-dancers wrap themselves. 

MUSIC (Tanzania): Kokoro by Rich Mavoko ft. Diamond Platnumz

Kokoro has a dramatic sight and sound opening, ushering, it seems, some kind of in-your-face spinning and swaying force-field come, alas, to rearrange a few things. Which is what happens. A bathtub 'apparition' -- art imitating a life-form in turn imitating art -- happens. 

Kokoro, safe to say, is a concerted effort by two Tanzanian artistes of no mean repute to throw caution to the wind under the feigned cover of innocence, in Dar's staid and organized air; and to do something at once bold n rebellious n different -- p'raps as the starting point of a new normal, in the era of which 'apparitions' may walk free. Something, like, visually outrageous happens alright, for 40 or so discontinuous seconds (between 0:14 and 1:00 on the video). That, if you missed the point, is the very same 'app' of which we talk. 

What goes with it is this: a sly taunting of the invisible censor's partial and crooked eye with 'never-before-seen' -- never before! --public visuals of God-given mama's things; here even crossed at the tip with light-absorbing black prudence. The result of all this inner-outer turmoil gives us some idea of what Churchill meant when he described Russia, so long ago now, as a: "a riddle wrapped in a mystery inside an enigma". [I think the version of that saying that I first read or heard, so many years ago, was: "an enigma within a riddle within a puzzle". After decades of memorizing the wrong word-play, the correct quote seems so awkwardly awkward, pondering and prosaic, if you ask me].

Kokoro was published only on November 26, 2016, and already had 1,221,018 YouTube views very early on December 15, 2016. But there is debate and concern surrounding Kokoro, already, in Tanzania (click here to read a pertinent observation, para. 1-5). How deep the concern is no one really knows yet. But Diamond is a towering African icon, already; and has many options.

I spy a touch of Spanish (or Portuguese?) sounds from the guitar strings in Kokoro. And more. The vibes one gets from the instruments are at their core all, or mostly, rooted in the same place(s), it seems to me. But they blend nicely with the Tanzanian images, vocals and lyrics. And so, all in all, what we have is a very conscious but perhaps not so well articulated experimentation with something new. Time will tell. I sensed the same kind of thing, with different ingredients, in C4 Pedro's very special Spetxa One. So there's spreading 'ferment' across our continent. Mo power!

In sum: the lyrics of this song may sound tame, but far from it in fact. They are even raunchier that the tub 'apparition'. If you can read Swahili (click here and see for yourself). But the words have rhyme and do flow. They are undoubtedly poetic. The dancers do try out some really new moves, even inside all that twerking -- though quantity masks the innovative quality that should come to the fore.

Click on the icon below, and watch Kokoro:






Tuesday, December 13, 2016

MUSIC (Tanzania): Mugacherere by Qboy ft. Rayvanny ft. Shetta

Mugacherere was written, and is sung, by Tanzania's Q Boy. The video features his compatriots Rayvanny and Shetta -- who are musical heavyweights in their own right. As Jeff Msangi tells us in a blog post, Q Boy is in the first place a designer, of some repute. His designs are worn by, inter alia, superstar Diamond Platnumz himself, the Owner/Director of a Tanzanian recording house WCB, whose profile is steadily rising in African music circles through its signature hiss, Wasafi, which is heard at the beginning of every song released under its label.

READ; Jeff Msangi (October 25, 2016) "New Video Titled Mugacherere..." in www.BongoCelebrity.com

The Mugacherere video was shot in Johannesburg by Director Nicorux, and the track was published on October 24th, 2016. Less than two months later, by the evening (7:30 pm) of December 12, it had gained 611,727 YouTube views, and plenty of TV exposure via East Africa's premier (and only recently launched) music channel, Trace Mziki, and possibly other outlets. 

The song is undoubtedly sung in Tanzania's Bongo Flava style, which is part of the larger AfroPop. Chunks of it are clearly in Kiswahili, and there's a line or so of English, but much is in a Bantu language (vernacular) which many Tanzanians do know, of course, but which is yet largely unidentified outside Tanzania -- but certainly not for long.


CLICK TO READ: Mugacherere Lyrics (via www.zelyrics.com)

Mugacherere has all the basic ingredients of a successful music video, particularly for the dance-hall: energetic and catchy tunes and tones to get everyone quickly started and continuously engaged, a colorful stage-set to tease the eye, an attractive and rousing band, creative (hopefully sing-along) lyrics with a theme or themes the audience can relate to, good and dependable lighting, and a well-calibrated sound system. 

I think, however, that there is more energy, but less passion, in Mugacherere than one finds in Upon Me, sung so wonderfully as well by Kiss Daniel and Sugarboy. The point here is that the two songs represent two styles put together for exactly the same purpose: to serenade a lady deemed suitable for a long-term relationship -- that is, for marriage -- and to do so successfully! So, you tell me... [You can still make a choice between the two styles, even if you're no longer in that game -- or not yet; and even if you're a firm believer in that pop adage: "No finance, no romance"].

A final point: In Mugacherere, we come upon a wonderfully creative bend in the road where flashes of brilliance bring into life a duet between voice (man/vocalist) and sound ('machine'/(musical instruments) which makes the soul soar, if temporarily, high above day-to-day sensibilities. You will recall, of course, that this was a technique, an innovation, which earlier generations of Congolese musicians frequently used, and which their fans celebrated. But it waned, and you don't witness it often enough, if at all, these days.