Monday, 13 August 2012

MUSIC FOR POLITICAL CHANGE IN AFRICA



                                MUSIC FOR POLITICAL CHANGE IN AFRICA

                             By: Derek Asuman



Music has been an essential part of the social and cultural structure of any society, no matter its stage of development. Music continues to play an indispensable role in social change across the world. 


Fela- Nigerian Musical revolutionary
Africa is no exception to the impact of music to social reformation.
Music forms in Africa are said to be as old as the societies that they are identified with. It is common knowledge that music, as a part of a society’s culture is dynamic and such is influenced by external culture.


In Africa, musical and lyrical content have provided a heaven for the preservation of much of the continent’s unwritten history. Music has also provided a valuable source of knowledge on the ways of life of the African people.


During the Trans-Saharan and Trans-Atlantic slave trade, our brothers and sisters who found themselves to be victims of this barbaric epoch of Africa history, carried with them music from their homelands to the lands of their new masters. They carried in their hearts the beats of Africa. Music connected them to their ancestral home. In short, music connects Africans home in the Diaspora.


During the era of colonization and the struggle for political independence, music became a rallying point for nationalist liberation movements to unite people of different backgrounds ethnic backgrounds to forge a common alliance to depose colonial governments. 


Music provided inspiration, strength and a sense of purpose to the ordinary African to demand self government. The role of music in the independence cannot be underestimated.

During the oppressive and criminal Apartheid regime in South Africa, music was a powerful rallying tool for the African Liberation Movements. In these difficult times, musicians such as Hugh Masekela, Maria Makeba, and Brenda Fassie stood as pillars of hope and strength for the oppressed black majority under a rule of the minority white. 


These musicians also paid the price for their opposition to a government of white supremacists. Hugh Masekela’s “Nelson Mandela” became the global anthem for the release of the imprisoned inspirational leader against the white minority government.


Music has not only been a tool in the in the struggle for political independence, music has played a key part in the political development of post colonial independent states. During oppressive and cruel military regimes, music has been an important tool for political opponents to press their demands for democratic rule. Music is an effective tool to expose corruption in governments.


The legendary Nigerian musician Fela Kuti used his music to criticize various military governments and to demand a return to civilian rule in his motherland. 


He was particularly critical of corruption and nepotism that has engulfed the very top of Nigerian leadership. In one particular song, he reminded the soldiers that, their place in the barracks is not to meddle in politics. His advice still remains relevant today as Africa strive to build open democratic societies.

Idris Abdulkareem, another Nigerian also been a strong voice of political and social dissent in Nigeria. He has appalled by the extent of high level corruption in both state and federal governments. Idris has also campaigned against the extent of degradation and pollution that local communities have suffered as a result of oil exploration in the Niger Delta. The level of crime in Nigeria has also been of great concern to Idris.


During the recent political and social upheaval that spread through North Africa and lead to the overthrow of existing authoritarian and oppressive governments, music was a powerful tool for the “revolutionarist”. 


During the mass protest at the Tahrir Square in Cairo, protesters made their demand clear through various forms of music. Music brought diverse people together for a common purpose, to demand the restoration of democratic and constitutional government.


In countries that are experiencing democratic governance, political parties and other social organizations have employed music to disseminate their political messages. Music plays a key role in political campaigning in Africa. Music is a tool for political education and a call for political education and a call for political responsibility.


In all these, music has also served Africa in ways that are regrettable. 


Music was a powerful tool that helped to spread hateful messages that lead to the bloody Rwandan Genocide of 1994. The post election violence that Kenya experienced in 2007 was also helped by music. Recently, four Kenyan musicians were charged for lyrical contents that promotes hatred between the ethnic groups of Kenya.
Hugh Masekela- Used his music to fight Apartheid

Music is the soul of Africa, and as Africa strive for economic development and independence, the role of music to reform the lives of Africa needs to be entirely assessed and employed to ensure the benefits to its people.


 Developing and branding African music, to make attractive to the outside will provide a great opportunity to market the diverse cultural and tourist attractions of the continent and create jobs for its teaming youth.


Twitter: @AsumanDerek                             Facebook: Kojo Asuman

Sunday, 5 August 2012

ASEM and PAT THOMAS 'DEAR JOHN' SONG REVIEW










                                      SONG REVIEW

                  ASEM AND PAT THOMAS – DEAR JOHN

                                By: Kofi Montana Asuman

By all musical standards, the hard working Hip-life Emcee we have come to know as Asem is still brawling and releasing records at a decent rate. Thus he causes his fans to cheer and tells critics to take a second look. No matter what part of the fence you fall on, His newest single, ‘Dear John’, a tribute to the late president of Ghana gives us all a reason to care again.

From the breathless flow, complex rhymes and intellectual lyricism. It is evident Asem will remain one of the top-doggs of Hip-life for a long while.

‘Dear John’ is a single by Asem and High-life strongman: Pat Thomas. The song is produced by Genius Selection and is a tribute cum celebratory composition which honors and acknowledges the various achievements of the late president, most importantly his unprecedented “true gentleman” figure. Thus Asem proclaims in the first verse “a gentleman from how he walked and even how he spoke.”   

Asem uses the song to prove to both his fans and critics, what a genius he can be. Teaming up with one of the finest singers of all time and composing such a classic in less than 3 days isn’t something most Hip-life emcees of today can stand up to.

Whiles commending him on his ingenuity, we realize this in not the everyday all-hyper Asem we’ve listened to in previous times. On this song he sounds rather muted. And I believe it might be because of the shock which raved the whole nation when the death of the president was announced.
Pat Thomas makes the song very lively. He does what he is known to do best, he sings flawlessly through the song’s hooks and on his verse.

The song’s production is splendid. Genius selection provides the best environment for the making of a Hip life song through his High-life inspired drum beats and kicks.
As to whether Asem will pay any royalties for using Kontihene’s trade mark “OH NO!” scream, it’s a question I will leave for the future.

Conclusively, “Dear John” is not Asem’s best single ever. Truthfully, he is very capable of doing so much more. But give A.S.E.M credit for giving us one of the best Attah Mills tribute songs.  

Twitter: @KofiMontana               Facebook: Kofi Montana Asuman
 


 


Saturday, 4 August 2012

SARKODIE RAPPERHOLIC ALBUM REVIEW



  

                    ALBUM REVIEW: SARKODIE RAPPERHOLIC
                                           BY: J. KWEKU DOH

rapperholic Album Art

Sarkodie, hands down; is the leader of the new school, no two ways about that. It wouldn’t be wrong therefore if I referred to his second studio opus, Rapperholic as a modern day hip-life classic. Its lyrical content and production might not match up to a classic such as Obrafuor’s Tofa, however, in this modern day’s hip-life scene where artists only make singles for a name, it is refreshing to know that at least a few still believe in putting together complete, and I mean complete albums.

With the release of his landmark debut “Makye”, most people expected the young rapper to get caught up in the sophomore slump that often characterizes the career of most artists after very successful debut efforts. However, Sarkodie proves why he could be regarded as the most prolific among the new breed of hip-life acts.

Witty lines, clever wordplay, humor, delivery, braggadocio, and a pack of conversational storytelling, Rapperholic has Sarkodie celebrating success, chronicling the difficult road from grass to grace, asserting his faith in God, stressing the essence of perseverance, staying true to who you are, dreams and wishful thinking, addressing the many problems of love, and of course the ever changing faces of life that an individual goes through. With a pack of guest spots on every of the 18 songs on the album except the Intro Word of God and the Kemenya produced Faces of Life, the album has guest acts both local and international delivering hooks or verses with Sarkodie rapping, rapping, and rapping. Will you blame him for that? The album is called Rapperholic, a name that suggests an individual who is addicted to rapping.

Opening with a church hymnal, Word of God has Sarkodie asserting his faith and reverence to God. In the past, we have witnessed him use God in making fun on several of his mix tapes, but in this case, he declares the hand of God as the pivot of his career and clearly affirms that he would not have a life without God. His love for God happens to be thematic throughout the album as he never ceases to praise God any moment the need arises.

Back in the day, we all will troop in to buy an Obrafuor album anytime it is out. This is because his albums are always made up of wise sayings and advice for us all. It seems Sarkodie is the new hip-life act doing what Obrafuor used to do. And I will not be wrong if I said Sarkodie has taken over from where Obrafuor left.

On the album’s second track “Saa Okodie No” which features Obrafuor, the young rapper declares, “From the Executioner, to me myself and I, it’s a Coup D’etat”. It is an established fact that any time Sarkodie and Obrafuor pair up on a song, we always have a classic. Check the song “Life” on Sarkodie’s debut or “Hiplife (In this Life)” on Obrafuor’s Asem Beba Dabi. The story is no different on this Hammer produced cut. Obrafuor assisted with a hook while Sarkodie boasts as to why he remains the best among the current breed of hip-lifers. Obrafuor as always delivers on the hook; trust the “Rap Sofuor” to deliver on any day. No wonder Sarkodie declares Pae Mu Ka as the best hiplife album of all time. You are sure to keep repeating this song as it happens to be the most outstanding on the album.

Love is one thing every individual goes through in this life at one point or the other. Sarkodie is no exception as he discusses many love related topics on several songs in the album. With contradictory stories though, one will realize that some of the stories are not those of his personal experiences but then issues of love that is found in society. The adeptness with which he discusses these topics shows the true storyteller Sarkodie is. The Efya assisted Am in Love with You, Odo Menkoaa with Kwabena Kwabena, Mani Dawoso featuring Kwaw Kesse, even the E.L assisted party song U Go Kill Me and others all discuss the issue of love from many angles.

Sarkodie goes on an imaginative grandeur living on the song When I Grow Up featuring Nigerian Heavyweight Ikechukwu. He describes dreams and wishful thinking he used to have as a kid and how he has transformed most of those dreams into reality. “Ma change motorway ato no Sarkodie Street” can you imagine that? Not only does he make boastful claims, he advises that every dream has a price you pay for it to come true. This depicts his believe in hard work and sacrifice, a requirement for your dreams to come true. He shares more advice on friendship and life in general on cuts such as Friends featuring Jayso and Rell and Faces of Life.

As much as Sarkodie proves himself as a rock solid rapper, it is important to note that, the too many features on the album undermine his ability as a complete musician. The album practically has features on every song with some acts appearing twice. An impeccable rap album is one that has the rapper delivering both on hooks and verses with less guest appearances. Consider that Obrafuor is able to juggle between rapping and singing most of his hooks, one will expect that Sarkodie at least performs most of the hooks on this album, but this is not so. The too many features results in contradictory subjects and recurrent themes. It leaves the album hanging without a central theme and one may conclude that, it is just a collection of songs as most of the songs were hits even before he released the album.

Beat making and music  production in Ghana is a big problem; though the album could boast of beautiful melodies as the Kaywa produced Onyame Ehyira No, Saa Okodie No which is produced by Hammer and the E.L produced U Go Kill Me, the other cuts on the album do not have much ingenuity when it comes to the beats. Gone are the days when a Hammer instrumentation or a Zapp Mallet production could have melodies ringing in your head all the time.

Twitter: @Jkwekudoh                        Facebook: Julius Kweku Doh