Let’s Talk about Waxy K

Wonderful Kapenga, otherwise known as Waxy K is a local hip-hop artist that came into the limelight when he was only 16 back in 2015. Today at 19 he is still a child star who has squeezed into the top notch on the-who-is-who-list of the current crop of urban artistes.

There are a few things that has made him stand out, his funny looking small stature; funny because it does not correlate with his talent as a rapper whose lyrical prowess has left the old scratching their heads while his peers trying to jump out of their bodies.

His signature entry ‘Ndikhonza kuyamba’ whenever he is about to start dropping bars including clever verses that follow has separated the child star from the noises that have choked the local urban music industry.

His punchlines are a typical imagination of a genius where he will use words that rhyme. Take a peek at these lines from his track Zazii:

Zazii zomveka mkazi Mphete

Kumamusiya kupita kumowa on the Payday

Zazii zomatumizilana ma nude

Zazii zomakhala kwamakolo anudi

At the moment Waxy K is hot property and with the influence that he is commanding there is no doubt that if he were a 16-year-old Justin Bieber of those days, he would be a millionaire.

His emergence also is a testimony that the old script where parents were always against their children’s calling to a music career is slowly but surely tearing away.

His emergence also is a testimony that the old script where parents were always against their children’s calling to a music career is slowly but surely tearing away.

For Waxy K the situation is even tricky when one considers that his father is a cleric in the Believers Assembly church but he accepted his son’s talent and even started financially supporting his in his secular music career.

Several interviews that I have heard the child star speak has told me that if only he were to have a manager who has a vision there is a huge chance that great things are waiting to happen for him.

In one such interviews he says he sings songs that should appeal, and benefit people which is more Gospel work to me than singing Alleluia in a church.

He is scheduled to release an EP but he has already conquered and he confidently declares that if the local music industry hold hands then they will be able to beat the international market.

He also has the spirit of protecting his talent by declaring whenever opening his compositions: ‘Zoti wina wake apemphe remix nyimboyi sindikufuna ayi’.

His reasoning is that once a composition has been made he doesn’t want any dirty hands infecting it with germs.

The excitement that comes with the little success somehow brings disaster. And for Waxy K the fame that he has earned could also be a pitfall that could stop his career in its tracks even before it has started.

His talent also requires a special nourishment that should provide it with a kind of growth that should allow him flourish and become a big star that he desires to become.

It will be a mockery to compare Waxy K with former child stars Millera Nkhoma and late Israel Chatama. For Millera there was no vision on how she wanted to carry on with her career. For Chatama it looks like with fame there was too much adult influence which led to his quick demise.

With such lessons all over, it would be disheartening for Waxy K to be a shinning star that never was when he fails before he achieves. With what he has achieved so far, he is an attraction to many things which are unfortunately both positive and negative.

Lyrical Pen’s top 2017 Stars

So much happened in the music cycles in 2017 and the pen was really busy. Along the way the Pen angered local Hip-Hop star Fredokiss for what it felt was his unprofessional and childish conduct but the fact remained that he stole the limelight in the year.

Much as everyone else did their best, there can always be one winner with the pen as is the case with any other awards and recognitions. I might not be in agreement with several people but according the Lyrical Pen, these were its 2017 stars. Anybody can come up with their list.

TOP ENTERTAINMENT ACT – Patience Namadingo

Unlike other musical awards organisers who struck off initial awardees from the list because they had disagreed, it is not the case with the Lyrical Pen. At the moment the pen has issues with Namandingo for painting the whole media fraternity on Facebook with one brush of condemnation for a mix-up of his mother’s picture in one daily.

Regardless of this fact this has been Patience’s year. We saw a different brand of the all new Namadingo that performed to mammoth crowds in Blantyre and Lilongwe venues. He also worked wonders singing in different places to raise money for the Queen Elizabeth Children Cancer Ward. He also showed the world the comedian in him. For all this he is the pen’s top entertainer for 2017.

TOP MALAWIAN MUSICIAN – Atoht Manje

The pen concluded that Ellias Missi known in showbiz cycles as Atoht Manje shot himself to the top of the game.

Not many really considered Atoht as one to make a mark amongst the youthful musical group of Lilongwe where he emerged from until he started dropping tracks like Majelasi, Lululu, Tizipepese, and etcetera.

Atoht is endowed with a crackly voice which is suitable for dancehall or ragga genre. The tracks like Majelasi and Lululu really came riding this genre until Tizipepese, which his fans call Mabvuto came in. It’s fast pace bordering on something that can best be equalled to a Congo beat or merely a local hurried up beat like fast paced Manganje as he would love to call it.

When one listens to Atoht’s productions with a trained ear, you would easily notice that his lyrical structure is messed up. He literally follows his heart, the result of which is a general appeal to his fans but an immediate shock to music teachers.

The same applies with Che Patuma, the track that he made to grab the top musician for Malawi in 2017 according to the pen.

TOP URBAN MUSICIAN – Fredokiss

The pen settles for Fredokiss not to appease him for getting angry at its ‘venomous’ ink, but because he proved that the local hip-hop genre is so influential that it would be foolish for anyone to pay it a blind eye.

He held three free shows in Ndirande, Masintha and Mzuzu where he parked the venues in a way that no meeting, be it political or religious could achieve. With politics and religion you know their manipulative power where they will try to profess popularity by parking vehicles with people that they ferry to such spots for obvious reasons. For Fredokiss it was just consumers of his niche products walking by foot to the venue.

 

In the year, Fredokiss who is also known as Ghetto King Kong released hit song “Njira Zawo” which features Lucius Banda. This is the rendition of Lucius’ “Ali ndi njira Zawo”. An additional to Dear Jah Jah, another hit.

 

TOP LOCAL ALBUM – Sunset in the Sky

Lawi’s second musical toil in ‘Sunset in the Sky’ is the pen’s pick for the best local album of the year slot. The album launched at Bingu International Convention Centre (BICC) on 2nd December in Lilongwe is a show of artistic progress of one talented artiste.

 

The Afro-Soul musician and producer has in the album tracks like Timalira, Dance with me, Therere and Yalira Ng’oma to mention but a few. The album has 25 tracks in total that touch on spirituality, life and wide range of issues.

The album has taken a good four years to put together and the proof of well thought composition is evident, making Lawi a top brand.

Jah Prayzah’s Pleasant Christmas Present

The Blantyre Sports Club performance by Zimbabwe’s Jah Prayzah’s was a perfect Christmas gift to music lovers in Blantyre. The fans had to brave the initial downpour just to make sure that they watch the Zimbabwean son.

His electrifying performance was a perfect gift as it took the fans from Christmas Eve across into Christmas Day without them knowing how time had flown past with such speed.

His bellowing voice thundered off the greens of the Golf course where the stage was mounted but still shook into life some of the patrons who had taken one too many and had dozed off.

Jah Prayzah showed why he has shared time in recording studios with Africa’s current greats, Yemi Alade, Diamond Platnumz, Davido, Mafikizolo, Oliver Mtukudzi etc…

The Zimbabwean contemporary musician, with his Third Generation Band, with their signature band uniform of military regalia, went to work and as professionals. And as professionals they never relented neither did they gave out anything half-baked.

One thing decidedly noticeable is that Jah Prayzah is not just a contemporary African musician but he equally and perfectly holds on to a true African roots by not only word of mouth but he sings this African identity. He sings in no any other language but Shona. He promotes the Zimbabwe Mbira genre without stint or limit. In Blantyre he did just that. Occasionally he would play on Mbira, a traditional instrument of the Shona people of Zimbabwe which is the main stay for the Mbira genre.

Everything about his music, in terms of lyrics, the African beat and presentation is undoubtedly African the only freestanding aspect that can safely not be linked to his huge African theme is his performance name Jah Prayzah which sounds Jamaican. Of course his band name is also strangely English – Third Generation Band.

 

 

Godwin Muzari Arts Editor for The Herald wrote that it is hard to ignore Jah Prayzah’s music in the era of Zimbabwe’s political transition and that his songs, especially “Kutonga Kwaro” which means “How a leader rules”, are being played everywhere.

 

Muzari further wrote that since every revolution is oiled by music that resonates with winds of change, Jah Prayzah’s album “Kutonga Kwaro”, which was released 43 days before Emmerson Mnangagwa was sworn in as Zimbabwe’s president, has dovetailed with the greatest political development since the country’s independence which he said was the resignation of Robert Mugabe.

Just to emphasize how he wants his music to strictly hold on to African signature, Jah Prayzah did a collaboration which features in his sixth studio  album “Jerusarema” with the Jamaican reggae great Luciano but all his contributions in this track are in Shona.

Looking at how things are flowing for him, one would expect Jah Prayzah to be contented with his rich vein of form and therefore going into his head by way of his actions.

On the stage at the Blantyre Sports Club, the fans witnessed the performance of a down to earth artiste whose humility was unbelievable especially looking at the sizeable crowd, by the Blantyre Sports Club standard – that had come to see and dance to his tunes.

The Zimbabwe Defence Forces gave Jah Prayzah an ambassadorial role which compels him to demystify the army and destroy the fear that is generally associated with them.

Through his music and energy filled live performances, Jah Prayzah aims to deliver this message and in Blantyre in the wee hours of the Christmas night he perfectly did this by performing a fusion of military brass band marching sound that sat well with his Mbira genre for the joy of the fans that came for his performance.

It was a performance so unique that the earlier glitches witnessed at the beginning of the show were all erased and people will give their attention again to Agulugufe 1200 Limited when they will bring another top notch musician to Malawi.

 

Setting up benchmarks for Malawi Music

In Malawi scenario or the rest of the world quality control in this case refers to letting our music pass some form of litmus test…

Most radio and TV stations complain that they receive an uncountable music compact disks or sometimes tapes brought by every Jack and Jill who say are musicians or singers in need of airplay.

Without trying to play a condescending card to the owners of music outlets, meaning those that have radio, TV stations or entertainment joints or public spaces like buses that play music, I think if we are to have quality music, then we need to set up standards.

Once singers and musicians bring their music, it must be passed through a rigorous due process where it has to pass all or 90 percent of the prerequisites drawn on the checklist.

The purpose of all this is to certify quality; some hints could be to look at the quality of sound i.e. is it filling the whole eardrum? On the other hand, is it trying to pull off the ear? Is it going to ‘infect’ the eardrum or just use it as a passage as it soothes the soul?

When listening to it are you feeling ashamed that the so called musician or singer only exposed their mediocrity?

Are the vocals showing that the one behind it was gasping for air? What about vocal variations, is it blending with the instrumentation? Is the music some common organised noise?

I know there could be many areas to look into before venturing into unknown terrain. At the end of the day standard and quality enforcement should be the order.

There are some operatives in the radio and TV stations, and even entertainment joints that, at the expense of their jobs, let gluttony scarlet red in the teeth.

Those that can be easily caught; you find every time this unexceptional artist comes to the premises they always demand to hand in their stuff to the very particular radio or TV presenter or the people who play music in entertainment joints.

This kind of greed is not motivational in the would be musician and it encourages them to go to a person who has a mixer placed in his dining room on his dining table linked with a ‘scraggy’ boom microphone.

Within two hours the so called musician will gurgle out noise, which the man owning the dining table and the mixer placed on it, will mix the panting sound with some computer programmes that will give it a drumbeat, accompanied by sounds of guitars and percussions.

All this will be happening on the back of an outcry that Malawi music has and still is struggling to get a place on the international market.

Some have been attributing this failure to lack of establishment of a unique music genre but this earns my disagreement because this happens because artists do not know what they want to achieve.

Our artists will rarely exercise measured patience when producing their music, even those that are nationally acclaimed, as our top musicians have no patience to take time before releasing anything and there for quality is always compromised.

Radio stations will always have no problems with this, as they will establish several programme specifically designed to ‘promote’ this kind of local music. If what is meant is to be achieved is really to promote, then I have a problem with the mediocrity they are championing.

If by accident or chance a member of an international music-promoting firm is visiting the country or any of the websites that have some of the local radios that are streaming online and catches the hurriedly prepared musical stuff, will they really be encouraged to come and promote it for the international market?

If we are to achieve quality as a country and promote local music, then local radio and TV stations and entertainment joints in collaboration with organisations dealing in and with music and musical artists have to set up benchmarks, which have to be used if music produced has to gain airplay.

These outlets need to critically look at the music videos produced other than broadcasting or playing anything they lay their hands on.

Even the news producers for all media platforms should not always carry stories for mediocre performers who just visit newsrooms, declare they are musicians, and get story space.

Entertainment writers have to listen to the music of an artist before they can start glorifying mediocrity. We can do better with quality control in the music Industry.

 

Learners and Bluetooth Speakers

I stay closer to Motel Paradise where recently a new private secondary school has opened its doors. It has given me an opportunity to observe ill-disciplined learners doing all sorts of naughty stuff.

What attracted my attention is a group of these learners who would bring to school wireless and Bluetooth operated speakers that produce booming sound either sourced from their mobile phones or memory sticks and cards.

These learners will therefore play the music from these gadgetries and sing along while dancing. Meanwhile, their classroom lessons are in session which now casts bleakness on what becomes of the national future if the learners are showing no interest to acquire this all important knowledge with such impunity.

In the early to mid 1980s when the legendary fallen music icon Mjura Mkandawire was a tutor at Blantyre Teachers College, the fruits of his toils were evident in the student teachers.

We used to learn more about the basic music theories from the student teachers than we were able to acquire from our traditional teachers.

The sad part is that Malawi is a poor country. The poverty is not only stinking but it is palpable as well. Not surprising, where the authorities cannot provide the basic necessities like classrooms, chalk and enough teachers, to mention but a few you can’t expect them to provide musical instruments to help in the practical aspect.

At least the absence of such requirements was understandable during the reign of the government of Kamuzu Banda. He is considered to have been one with top standards and class and therefore wouldn’t have expected anything less, but there was none because no future was cut out for music.

But then even when we were learning music there was nothing to show for it because those that made a name were rote musicians and artists like Allan Namoko, Mzalawayingwe Jazz Band etc

Today music is required almost in every aspect of our socio-economic and socio-religious day to day lives. Proliferation of churches that are bent at attracting more following that would equally provide more Sunday offerings for example, use live musical bands a lot. Then talk of artists and musicians that are appearing in each and every household these days

I believe had we made music a compulsory and practical examinable subject from primary through secondary schools we would perhaps have benefitted a lot as a country.

Surely we would also not have had learners staying out of classrooms and choose to entertain themselves with some loud music. Thanks to the sophistication of technology which has allowed tiny gadgetry to produce unbelievable sound and the availability of digitally stored music in memory cards and sticks, the learners have all they need, not only at their disposal but easily solar powered.

Lately, music as a subject is not as serious as was the case in the old curriculum where it was given a higher recognition. Music can be interesting sometimes because it can act like fire which can be both a good servant and a bad master.

Writing for Times in December 2014 Melissa Locker observed there’s little doubt that learning to play a musical instrument is great for developing brains.

 

Melissa further wrote that science has shown that when children learn to play music, their brains begin to hear and process sounds that they couldn’t otherwise hear. This helps them develop “neurophysiological distinction” between certain sounds that can aid in literacy, which can translate into improved academic results for kids.

 

A good environment which provides both theoretical and practical atmosphere for learning would be conducive to the learners which in turn would not allowing them to abscond classes and entertain themselves outside the classroom and during learning period. In this case music would be considered a bad effect to learning and schools need to discipline such learners in order to save the good name of music.

 

Dan Lu’s publicity stunts overdose

Sometimes the restraint to talk about ‘below the belt’ actions or howlers by music artists engulf me so much that I let it pass at the risk of either glorifying it by any mention on this space or ultimately missing out an opportunity to speak my mind.

But Lyrical Pen is there for these musicians and any wayward traits observed in the artists’ conduct need to be stopped in its track by opining on its merits and demerits.

Dan Lufani, the urban Afro-pop star is a talented artiste. No contest over this fact. He has proven through and through that he is one artist endowed with flair to dish songs that massage the auditory wits of the most hard-to-please music lovers.

It has become so difficult to ignore him; this is why every time he posts a picture kissing a ‘bared’ belly of his pregnant wife on Facebook; tongues engage a top gear and start wagging.

While entertainment experts lately consider posts of this shocking nature as a true ploy to draw attention and plop up their following and presence as part of publicity stunts, Dan Lufani’s latest exploits in Ireland clearly showed that he lacks guidance in order to only court beneficial controversy or publicity.

When you look at what Lufani’s PR team tried to come up with in order to palliate the controversy he courted while in Ireland, it is clear that it was a shoddy work because those doing it lacked skills and the dirt that Dan sprinkled on his professional fabric was just too much to be washed.

Some titbits that make up the subsequent statement says Dan Lufani tried to avoid meeting or being photographed with his ex. There is a half-naked woman that did not only pose with Dan Lu but they also hugged each other and yet the statement says he never touched her.

My take is that all this is a botched up job. To begin with, there are artists like Tay Grin who are an attraction to a bevy of beautiful girls but he will tactfully stay away from his female fans without being rude. He will either pose with the female fans in a group without being too touchy or he will pose with one fan but in a manner that clearly shows the boundaries. In other words he does not pose with fans in a compromising manner. This is called being smart and a sign of restrain which is a virtue eluding most artistes.

We can be all what we want as entertainers but the moment we decide to commit to a matrimonial acquaintance we need to behave like it because we stop only living for us.

Many talented artists have ‘strangulated’ their careers before it blossomed to beneficial levels because of the way they behave both in private and public life.

Somehow the actions of some of these artists have a bearing on their parents, siblings and not to mention spouses. Much as the artist would therefore desire to behave in a certain way that will make them enjoy all the trappings that go with this life, there are those people that wear this shame that should make artists cautious before they act.

There is always a limit to how much controversy one can use to get attention and publicity. If one is so careless that he becomes the topic of discussion on social media but in an all negative manner and a reference of ridicule to his spouse and family then it’s time to sit down and reflect.

I know many artists in Malawi adore Diamond Platnumz for his musical exploits as well as off stage stunts with beautiful women. But believe you me; lately he has started losing track and focus because he went off the rail.

It is crucial for artists to always play it smart and avoid being in the limelight for all the wrong reasons.

 

Lucius Banda’s Free Shows loathing

On 14 October, 2017 Lucius Banda decided to use his Facebook wall to detest what he called a common practice in Malawi where people seek free entry into musical shows.

He went on to deduce that this is not due to poverty because people who do this come by car which has obviously been fuelled and upon getting into the show they buy a lot of beer.

What he abhors is that it is clear to such a person that only paying to the artist to gain entrance is what they hate. Sometimes where positions are reversed where the patrons might have a grocery shop, they cannot give free loaf of bread to that artist whatever the case and it would even sound funny if they were to ask for free bread.

He goes on to pour his heart out by wondering why people feel comfortable to enter shows for free despite knowing the artists have loads of overheads to take care of. He then marvels at Malawians’ lack of spirit to support arts.

In his wisdom Lucius believes if all the fans were paying at the door during such shows then Malawi will have her own export quality musicians like is the case in other countries around Malawi.

He goes on to cite Nigerians, Tanzanians and Zimbabweans where he says musicians grow because people are ready to support.

Lucius made this Facebook post barely hours after rapper Fredokiss had held a free show at Masintha which made the venue bulge at the seams.

Rightly so, his post attracted a comment from Mchiteni Nthala II who urges Lucius to organise a free shows sometimes; his argument is that music is not meant to be sold always as there are a lot of people out there who are his loyal fans but cannot afford the gate entrance fee.

Repay them by holding a free show by borrowing a leaf from Fredokiss, who according to him does not have money but has managed to hold a free show in Ndirande as well as at Masintha, he argues.

He then further says Lucius can also do the same by holding free shows in Mhuju – Rumphi, Kabudula- Lilongwe, and Mayaka – Zomba.

 

Lucius however is still adamant by inviting the contributor to his constituency in Balaka to see for himself what happens on his ‘gate’ [the entrance to his residence, I presume] where what he will see will make him cry for him. Lucius argues that he doesn’t give back to people using shows.

There were several subsequent comments

 

One Charles Percy Gama says it’s indeed a matter of concern that after investing a lot in advertising, getting supporting artists, venue hiring and organizing a show, somebody comes with all family members and friends to enter for free. When the artists get poorer and stop performing and switch to vegetable farming or bicycle tax business the same people will snide at them for lack of vision. He says it’s high time we supported our artists.

Another comment from my namesake Gregory Chisomo Likalamu argues that Lucius needs to ask Gwamba or Fredokiss to establish who pays for the venue because at the end of the day music is not only for money, but for fun too.

He further states that since Lucius is a politician it’s not surprising that he is egotistical and therefore will only hold free show that will be to his own benefit or when someone pays for it. He argues that Fredokiss is paid with love and not with money.

As a journalist, one would expect me to enjoy free entry which I don’t. I have never been to a show for free even when I will write an article for such artists. However Lucius response is mixed up. He serves two constituencies; a political and a musical constituency and whatever corporate social responsibility activities he does as an MP cannot tick on his check list as an artist.

Several reasons have been offered on his post. But I still believe whether Malawians love free shows or not, he owes it to them and one day it cannot hurt to pay them back as an artist and not a politician of Balaka North.

 

Why Diamond Platnumz and Morgan Heritage?

These past months have seen the internet and the east African media most especially, awash with stories of Tanzanian top artiste Diamond Platnumz who has been in the news for marital issues concerning his cheating on Ugandan wife Zari Hassan. Apparently Diamond’s alleged infidelity has resulted in revelations that he has impregnated his ex, Tanzanian model Hamisa Mobeto.

I will leave this story at that and turn to his musical exploits which apparently has not been lying docile due to the trouble brewing over his social life.

Around this same time, Diamond Platnumz real name Naseeb Abdul Juma who has done collaborations with international musical acts that I can’t count with my fingers and toes decided to collaborate with the Jamaican royal family of reggae, The Morgan Heritage, to do a love song called Hallelujah.

To begin with, when groups collaborate usually it is because there is something common in their musical exploits. The coming together of Diamond Platnumz and Morgan Heritage therefore was something that was unprecedented.

This is why; Morgan Heritage is a reggae band that has the best reggae album Grammy award for their album ‘Strictly Roots’. On the other hand, Diamond Platnumz is an afro-pop artist whose collaborations with other such African artistes like Zimbabwean Jah Prayzah and Nigerians Davido and P Square, Mr flavour to mention but a few.

On the international scene he has also collaborated with US Ne-Yo doing a track Marry and this well understood as African pop borrows a lot from the R&B genre of the US.

Listening and watching the results of Diamond Platnumz and Morgan Heritage’s collaboration one would agree that they both came down to meet at a convenient level.

There is a track called Nana done by Diamond featuring Mr Flavour which clearly shows how the Nigerian and Tanzanian beat can easily fuse.

Now when one looks at Culture – the Jamaican reggae outfit – for example would we say this is the band that can collaborate with Diamond Platnumz. I think there is no such chance.

In 1990 Morgan Heritage’s debut album called Growing Up was an R&B album it was only in 1994 when the band was officially formed and the group moved to Jamaica, the home of their musician father Denroy Morgan that they settled for reggae in earnest.

Over this period they have released some of the reggae’s greatest hits like Down by the River, Reggae Bring Back Love, Let’s make it up, Protect Us Jah, She is still loving me, Tell Me How come

Peetah, Morgan Heritage’s lead vocalist has still the R&B influenced vocals which when you come to think of it made sense to collaborate with Diamond Platnumz.

When you watch the Hallelujah video more appreciation of this departure from the reggae discipline from the Heritage’s part will be appreciated while for Diamonds this is his turf.

For the lovers of traditional roots reggae the collaboration has been dismissed as a disgrace while for the liberals this is making not only a marketing sense but it brings the members of Morgan Heritage closer to their home continent of Africa.

Without being trapped in some rigid posture, the decision by the reggae outfit only shows their versatility. The elements of not being a pure reggae is also clearly seen and observed in their latest album released on May 19 this year called Avrakedabra which follows their acclaimed Grammy Award-winning Strictly Roots.

Much as the album title poses many questions so is the 15-track album which if you have the history of Morgan Heritage you will not be surprised with its cross breeding of genres.

And therefore their collaboration with Diamond Platnumz is not a total surprise and if any Malawian musical outfit of artiste were n doubt when Morgan Heritage offered for collaboration when they were twice in the country, there goes your answer.

Suffix & Faith show Boldness in tackling tribalism

The timing to issue the song Yobwata by Suffix and Faith Mussa would not have come at the right time considering that this is voting time and it is not a secret that the politicians have managed to polarise the country by flashing the tribal card.  

Before I can comment on the boldness in lyrical package of the track, I want to point out that this sounds like a sequel of the 2016, release Mkazi wa Kumwamba, where Suffix and Faith also talked of how tribalism weighs in when it comes to deciding who to marry.  

Now the track which has video with actors depicting what parents pump in the minds of their young ones when it comes to issues of tribalism before putting out there how tribalism is perpetuated.  

Ndimachokela ku South yao, lhomwe, Sena, tribe – Ndili ndi ma reasons omveka omwe sindikondela mtumbuka ndi ma guys a pa centre apa. A Tumbuka kuzimva.  

Goes one of the lines in the track, it also mentions cultural beliefs as one aspect that promotes tribalism where issues of dowry are questioned by one tribe over Chikamwini where a man goes to a wife’s home once they get married.  

The track suggests that the issue of education quota system is informed by tribalistic considerations. “Kukhwefula dala education system ife nkukhala ma victims” sings Suffix.

The track which has been done in Hip-hop and pop fusion and according to the two artists, the motivation comes from a song by US artist Joyner Lucas titled I Am Not Racist, which is currently the hot issue there.  

In the Malawi case the track exposes it as a deep seated challenge that is only scratched on the surface. The track calls out on Malawians to do something about tribalism and stop pretending that all is well.  

Suffix told The Nation that as someone from the Northern Region, he grew up hearing narratives that made him believe he could not trust people of other tribes.   When he grew up and became a devoted Christian, he says his perspective started changing as the Bible promotes love regardless of where one comes from.  

The rapper said he hopes the song will help Malawians have healthy conversations about tribalism and how much it negatively affects progress.  

Mussa told the same publication that tribalism is getting out of hand in Malawi and that it is time to deal with it. For him, he never thought he would live to see the day when people would be making a big deal about their tribes. Now Malawi has segmented everything into tribes.  

He strongly believes that tribalism will make children grow up with hatred towards each other based on tribes yet they never wronged each other.  

He also has a strong belief that music is one of the strongest tools in the hands of mankind as it penetrate walls, doors, borders and get to people the makers of such music never even meet.  

The approach to use music to respond and try to resolve the malaise of a nation is one genius way of playing a part. Music should not only be used to entertain but to also correct the wrongs. The track does not mince words in the way it tells it as it happens, how tribalism is propagated and watered to become a beast.  

Namadingo – Soldier Mashup 2 was spoilt

Patience Namadingo is trending. If it is not Malawians and Zambians mimicking his hit song Mapulani then he is releasing mashups. We have seen him collaborate with Soldier Lucius Banda in the part one mashup before Billy Kaunda and the Black Missionaries also came on the scene.  

I have my misgivings for the second mashup and this is the reason this week I have returned to talk about Namadingo yet again.   When he first released the first mashup with legendary soldier Lucius Banda, I said musical innovationist Patience Namadingo nailed it because the production came as a pleasant gift to the music fraternity which also helped expose Mozy Moshu Shumba, the producer.  

I had also pointed out that Soldier on one side and Patience on the other, was like a vocal contest that told us that Lucius has never been a wanderer in the world of music. He is leaving huge footprints and considering that the soldier’s journey is ongoing, his counsel can do a lot of good to those aspiring to achieve musical success in this country. I can say the same was the case in the second mashup.  

Patience exercised tolerable discipline in his approach when he did the first mashup with Lucius and Billy. However starting with the Black Missionaries mashup he started getting excited. If he was not talking too much between switching to the next song, then he was overdoing the voices to a point of making it lose the original tune.  

Right from the first track, out of the 19 short songs that are in this mashup, Moyo Wanga, Namadingo brings in the element of one of his tracks when he sings  Ngati Njuchi – Ng’wing’wi which is a put-off   The same would be said of the second track ‘Wadidolola’ which he really tried to be smart with the vocals – his biggest asset – to appoint where he almost lost it.

After playing the third track, he speaks ‘ Soldier usathe mawu’ to transition it into the fourth track Zidzayenda. Doing this track as well had Namadingo pushing his luck too far with unnecessary ‘condiments’  ‘sindingathe kupitiriza ndekha nkhani inachitikadi.   He messes up the fifth track again Mphawi Uja, when he sings/talks ‘Tibwerezenso pa umphawi’ then he dives into Tumbuka before commenting that – tayimba Chitumbuka usapyse mtima soldier.

The ninth track Zakukhosi he unnecessarily adds his Mapulani element. The following one, he talks about TamTam buses, Lucky Dube before he comments: ‘kuyimba zosiyana koma zokongola’. Track number 11 he comments at the end ‘basi ma awo-awo akwana’.   This is just part of many cobwebs that have come into the second mashup which tells it apart from the first one.  

The good thing is that Namadingo and his team have seen the reaction which when compared with the last mashups has not had the same impactful reception. He got so comfortable that he started spoiling the good cause.  

Another good thing is that the mashup productions make up for the keepsake for the lovers of music. I have a feeling that when we do covers of original tracks, we need to do justice to them.  

The first mashup that attempt was clear but for the second one I think there was too much disregard of this requirement to freshen up the latest covers of the old.   The additional wording of asking Lucius Banda to sing in English to prove if he knows it or not was another distasteful. This is a legendary artist that everybody knows his capabilities and the comment was a misfit.  

It is very clear that the in-between comments are spur-of-the-moment so much so that at the end of the day, Namadingo cannot account for them.  

One good example, the Mablacks mashup which ends with Matafale’s Nkhoswe, Namandingo sings: Nyimbo Nyimbo ithele pompa poti mwamvera, Tikumanenso part two, poti ibweera. Now when you consider the announcement that the last mashup was Lucius part 2, you have your answers.      

DNA confuses with UKANADZIWA

Last time I picked DNA, born Daniel Kaliwo, as one of modern musical acts whose music and I asked you to listen to his music and look at the aspect of creativity in terms of coming up with the tune, melody and lyrical package and delivery. Of course, there, I also observed that love theme is his common denominator.

Back in that June of 2017 when I wrote about this, I looked at DNA’s two tracks called Mukandipepesele and Mpata. I had appreciated that DNA had put his golden voice to good use.

Much as some of his lyrical lines would not hit you that much, but he compensated it well with a deeply well thought rhythm and harmonies within the creativity in the melody.

Over the period of he has also done Changa si Icho, Odala and last year’s Madando nda liti.

What has compelled me to come and talk about DNA again three years later is not those tracks but his latest track Ukanadziwa featuring Bathro, which is also lyrically rich and makes him look an intelligent composer.

This is one track that sometimes makes one realise not to judge a book by its cover. He describes a character in the track that almost fits what he looks like. But what proceedeth out of his mouth separates him from such boys:

Chikundilepheretsa ine/ Kukulola iwe

Ndikhalidwe lako/ Likumandiseketsa

Kulikose ndingayende/ Ndikumaona anyamata

Zochita zawo /Chimodzimodzi za iwe/Atapota tsitsi m’mbali ameta

Atavala jean yong’ambang’amba

Kumanja kwawo atanyamula mowa ngati ndiwoyezetsa

Atanyamula speaker akusokosela/Sakhala pa rent amasungidwa

Moti atandipatsa mimba azandikana/Ine kumavutika

Ndiye kusiyanitsa pakati paiwe ndi iwo kumavuta/

Zoti ndimakufila ndizoonadi/Koma nzeru sunakhwime

The verse above explains it all. Basically it is saying that a woman is declining love proposal from a man she is deeply in love with because he is childish. He behaves like all the useless boys in town with funny hair styles; wearing torn jeans trousers; moving about with beers; playing loud Bluetooth music in townships.

This is well understood and you really cannot fault a lady who gives well-meaning observations that informs her decision not accept the man’s love proposal.

What is confusing is this chorus:

Unakadziwa kuti mtima ndikumawuyika mmanja (If you only knew, I am carrying my heart in my hands)

Moti utati wagwa, uwutolayo ndiwake (That if it falls down, the one who picks it up will be his)

Ndikudziwa ndimakukana molumbira koma (I know I have sworn never to accept your proposal)

Sikuti upeze chifukwa choyendayenda ndiwena (But this should not be the reason for you to go out with others)

Chifukwa panopa inde ndikupewa kuvulidwa.kuyuzidwa ine (At the moment I am avoiding to be taken for a ride by just being used)

When you listen to music somehow you expect it to follow a logical ending. But the artists sometimes are cruel to their character by deciding how they want to leave things in suspense sometimes. It is apparently acceptable with fiction writers, but it’s amazing for me how DNA has also used it in this track.

Here is a girl who will never give you an opportunity to date her because you are failing to grow up, meaning you are under her spell, waiting for your opportunity. Meanwhile she has told you with certainty that you stand no chance, but you should not go out there to date other women.

This leaves the man hanging, like what does this woman really wants? She doesn’t want me, but on another hand she doesn’t want me gone.

It is this dilemma reflected in the woman which she projects on the man that makes this track one of a lyrically pure artistic work. It has managed to pose like an abstract painting that gives you something to debate about. Is the song as plain as one would think or it is for everyone to pick a side and stick to it?

What a song! Listen it with ears people and tell me what you think.

Bald head Jesus against Faith Mussa

On May 31st this Week, on a Sunday, singer and musician Faith Mussa updated his profile picture, which gave his fans the all-new dreadlocked Che Muphuwa image.

For Faith, he simply accompanied the picture with a few words, saying, ‘[I have] been posting too many old pics in the past few months… I guess it’s time I reveal what’s been hiding under the Hoodie’.

And oh God, over 1000 people reacted with close to 300 comments. Some condemned him, while others commended him.

One Wanangwa Ishbak wrote: Koma mbali ya uzimu sukuyenera kupanga m’mutu chonchi. Gospel artist Ameneyo? Kapena ayi? (You are not supposed to do that with your hair from a spiritual aspect. Can that be a Gospel artist or not?)

Another question came from one Talune Tembo: “Kodi Mwasiya kuimba Gospel?”(Have you stopped singing gospel[music]?) To which another commentator, Daniel Mababa, came with a rejoinder: “Walowelela” (He is lost!)

For Roderick Phillipo, his comment was “Vuto losokoneza culture/tradition ndi mawu a Mulungu. Mulungu ananena pati kuti ma locks si achikhristu?” (The problem of confusing culture with the word of God. Where did God say having locks is against Christianity?)

This was challenged by Cynthia Kaira, who asked Phillipo: “Bible m’mawerengadi Inu?” (Do you really read the Bible?)

The two tussled over this as follows:

Roderick Phillipo: Owerenganu ndithandizeni ndi mawu oletsa locks (Thou that read help with the scripture that forbids locks)

Cynthia Kaira: Bible limanena kuti tisapote Tsitsi (The Bible says we should not plait hair)

Roderick Phillipo: Post the verse, please. Actually, it’s not even a verse, but the entire chapter kuti context ya verse tiyimvetsetse bwino. And while we’re at it, shall we pick you apart based on what you have on your profile? There’s a lesson in this question.

It was interesting indeed that The Daily Times screamed on its Entertainment page: “Faith Mussa’s hairstyle attracts mixed reaction”.

He told the publication: “I just did it for a change, really. I am tired of cutting my afro. I want some freedom with it. I knew some people will obviously bad mouth me for it, but again, you know I can’t please everyone,” he said.

He also said he loved people’s comments on the new hairstyle. The arguments and counterarguments took me to a track by reggae legendary Bunny Wailer called ‘Baldhead Jesus’. The song begins like this:

 [Intro]
Praise Him, praise Him
Praise Him, praise Him
Praise Him, He’s the king of kings

[Verse 1]
I have never seen the image of a bald head Jesus yet
I have never seen the image of a bald head Jesus yet
He’s a humble and dreadlock Nazarene man
Look in yourselves and try to understand
Why you’ve never seen the image of a bald head Jesus
Yet

[Verse 2]
All ye bald head Jesus followers start to fret
All ye bald head Jesus followers start to sweat
He said to follow Him and He will make thee fishers of
Men
But you’ve just left the barber shop and gone back
Again
And you’ve never seen the image of a bald head Jesus
Yet

[Verse 3]
There is no synagogue that was built by Jesus Christ
There is no synagogue that was built by Jesus Christ
He taught on the hill and in the valley
Performing miracles and didn’t get no pay
No synagogue that was built by Jesus Christ

[Chorus]
Give I the older time religion
Give I the old time religion
Give I the old time religion
For it is good enough for I
If it was good for Moses and Aaron
If it was good for David and Solomon
Daniel, Shadrach, Meshach and Abednego
Then it is good enough for I

That’s how far the song goes. Basically, it challenges those who are pushing Faith Mussa to appear Gospel, to first remember that Jesus was a dreadlocked bearded son of Man. And now, do those that are accusing Faith Mussa of not cutting an image of a Gospel musician ensure that we are able to see the image of Jesus Christ in them?

As Bunny sings: I have never seen the image of a bald head Jesus yet, so please leave Faith Mussa alone! Will you?

Where is Piksy’s Sendeza Genre?

With Gregory Gondwe

We really have to give it up to Piksy, born Evans Zangazanga. Piksy and his friend Nicodemo, real name Nicholas Mbonela, plucked up unbelievable courage to come onto the music scene with their own genre they called Sendeza analysis through their Machitidwe a Atumwi, or was it Sendeza back in 2008.

The two, trading as Atumwi, decided to be Nthumwi Piksy and the other Nthumwi Nicodemo and got a reception so huge that soon everyone was of the view that they presented the local urban future with tracks like Chiphwirikiti.

But just before 2011, when Piksy entered a solo career and signed up with Nde’feyo Entertainment, he parted ways with his partner.

Not many gave him the benefit of the doubt that he could make it alone. The two first met in 2003 during the rap and raga competitions in Zomba before reuniting in Blantyre in 2005 when Mbonela was studying at Malawi Institute for Journalism and Piksy at Malawi College of Accountancy to record their first single, Mzanga and several others that followed, those that doubted him were justified somehow.

Over time, Piksy has proven all the doubting Thomases wrong. His debut album Maso, as a solo artist that included hits like Unamata, Yabowoka,  Ponya Mwendo, Zolapitsa, Kwakuya, Otinyoza, Moto Moto, Appetiser and Tribal Party, was the testament that he was becoming a brand.

Around the same time, he also became Airtel’s Brand ambassador, another huge validation that Piksy, who started out as a chorister at his church, Zambezi Evangelical Church, was to be taken seriously.

He started as a rap artist in 2003 when he was a member of the hip-hop outfit Real Wise Crew, where he showed his resilience. When the group broke up the following year, he became a solo artist and recorded a solo work, Mwai Wina.

As a leading urban music rhymester, Piksy seemingly stumbled again when, in 2013, he had to cut ties with Nde’feyo Entertainment for breach of contract. Apparently, he was supposed to release two albums and 2 DVDs within three years but ended up with just a single album and still no DVD.

He picked up himself a year later, formed the Langwani Movement Band, and told the media that he was assembling music equipment. Unfortunately, nothing is still heard of Piksy and the LMB.

What has made me discuss Piksy today is that I came across his latest single, Chonchobe where he is condemning lies some people peddle on social media. He took me back to the Sendeza days when his music obituary had already been written.

The respect that I have for Piksy is his courage with Nicodemo to introduce the Sendeza genre. In between, he also did Umakwana. Of course, other critics have said it failed the basic music tests as somehow it bounces off badly in uncoordinated tune – story for another day.

I was wondering why we had not asked him what happened to Sendeza. For me, I think he has become mature, like old wine.

With his Chonchobe, he told the media that many people today pretend on social media that they will post photos and situations to make people think they are rich or are happily in love. At the same time, the reality on the ground is entirely different.

“Mboba Osaphweketsa/Game pamwamba osadekhetsa/Fans yavaya utsala wekha

Ukapusa sudzawapeza/Siukudabwa kumufila neba/Ndiyeno madolo aku pretender

Timawadziwa nde ndingo setter/ Kutinamiza they are doing better/Ukumva bwanji nthupi Chonchobe/Bwanji mwavala juzi/Chonchobe/Ma post timawaona mboba oh sorry

Timadziwa kuti mukunama koma chonchobe,” 

When I listened to the beat and the lyrics, I thought it was never the Sendeza analysis, which, as Atumwi, catapulted Piksy to fame. I have many questions. What informed them to come up with that genre? And what has become of it over time? Was there an agreement that without Nthumwi Nicodema, Sendeza should not feature anywhere anymore?

Covid-19 could do worse with Gigs

Amongst several things associated with politics, death makes the list. Darkness, disease, poverty and misery are the other associates of politics. Not surprising, the danger posed by Covid-19 to our politicians bears nothing.

Whereas for music, most occasions that it will be associated with death is when people gather for funeral rituals and of course dirges, politics has a different story. Otherwise music is associated with happiness in its fullness, exuberance, verve and the goodies are endless.

This is why the decision by the country’s musicians to defy the imposed restrictions and announce that they will resume live shows, is a bit confusing to me.

Yes, I know, the musical artists are hardest hit, but it is unbelievable for them to say they have made this decision in step with the actions by politicians who are holding rallies where more than 100 people gather.

They argue that this is a direct breach of government recommendation as a preventative measure against Covid-19 spread.

Chairperson of the group Wendy Harawa told journalists in Lilongwe last Tuesday that the musicians are simply following the example that their leaders have shown. Now this is trying to pull wool over our eyes because we know this is not their inspiration.

There inspiration is to support their livelihoods which is under threat ever since the ban was imposed. Where as in other countries like in South Africa, Government availed resources to cushion their misery in these times.

The announcement from musicians comes a few weeks after I had pleaded with Government to come to the rescue of the artists.

Let me go back to what I had written:

There is too much politics in the manner that this issue is being managed. I opined last time that it has been overtaken by political buffoonery where the Health Minister Jappie Mhango, ICT Minister Mark Botomani and Homeland Security Minister Nicholas Dausi were thinking it was a political show-off oral treatise that leaves Malawians with more questions than answers.

Before President Peter Mutharika dismantled it, there was to much political clowning where a lot of money went into the ministers pockets in form of allowances not to mention their efforts to bribe the Malawi Defence Force and the Malawi Police with money within the very political stratagem clearly exposing ulterior motives other than effecting the cause to a just fight against the pandemic, leaving out the most important aspects of the whole scheme against Covid-19.

I said then that this was why musical artists were left out. I said then of the importance to embarking on a mission to support several musicians to produce songs that will carry Coronavirus messages, if there were no free resources to help them.

With music I was of the view that if the ministry of sports and culture, looked after the music artists, it would really ensure that it also plays a role in the fight against Coronavirus by ensuring that it avails resources that can be used to produce audio and video pieces that can help in this war against Covid-19.

The good thing is that the fact that one of the crucial messages is encouraging people to stay at home, what it means is that if they are not glued to their radios then their eyes cannot be taken off their screens. What a better way of encouraging them to listen and watch artists they are familiar with.

If these Government officials have a hindsight in being proactive, they would by now, have crammed the airwaves with such music that even calling for a lockdown would have been a stroll in the park.

But Government, noticeably did not take heed and now the musicians have come out. Where I am not agreeing with them is making announcement without telling us about the ways in which the shows would not be a breeding ground for further spread of the virus.

I know the good music industry has been dominated by politicians, but I only hope they will use their music brain and not political brain to decide to restart live performances.

 

 

Gospel or no Gospel for Namadingo

On April 30 around 4:22 PM, singer and musician Patience Namadingo decided to let the cat out of the bag when he vehemently declared, that he is not a gospel musician as the country has been led to believe ever since he cut his musical teeth back in the days.

This is exactly what he wrote on his Facebook page:

“For the very last time the answer is “NO I am not a Gospel Musician. I am just

a Musician”. It is my Job. I’m sure you also have jobs and they are not Gospel Jobs. I choose what to sing. The gospel is just another message I choose to share as I do my job. If you need a 100% Gospel Musician who only sings about Jesus in his Music then you have lots of them out there. I am not one of them. I also have other things I want to sing about. e.g. Love. Education. Girls & Boys Empowerment. Wealth creation. Good morals. People and all that contributes to the wellbeing of people in a society. If you are offended by such topics or u want a 100% gospel musician who mentions Jesus and God in every song he does. Then there are lots of them out there. I am not one of them. Make a screenshot. Tayankha Tayankha basi. Note: kwaofuna mtsutso monga mwanthawi zambili. your comment will not get our reply on this. #Not_A_GospelMusician.”

Many people are arguing that Namandingo should have made his point without lacing it with some arrogance and big headedness. Well, I think I have no problem in the way he has elected to communicate it because there are just too many tags with which we push down our celebrities. There is this feeling that we some how own them and they must not operate as they please!

If you have followed my musical columns from the Drumming Pen days, to date, you will appreciate that this is one of the subjects that I have written about extensively. In all instances, it is informed by my misperception on why others have to be gospel musicians while others have to be grouped as belonging to a secular genre.

But is there a secular of a gospel genre?

I remember on these very pages, some days past; I wrote about how people treated the late Geoffrey Zigoma unkindly. They accused him of gluttony owing to his failure to make a between being gospel musician and a secular musician.

Unlike Namadingo, I had argued them that the problem that was killing Malawi’s nascent music industry was that artists struggle to do something without knowing what they want to become.

Who is a Gospel musician? The one who sings Gospel music or the one who lives his or her life according to the Gospel?

Our musicians are often blinded by the narratives generated by the societies they live in. The so-called Gospel musicians are supposed to be pious in their conduct; thus, in what they say and how they live.

This is where the problem emerges from. If Namadingo decides today that he is not a Gospel musician, then the whole population goes to town accusing him of losing it to devil, who now discourages him from continuing with the ‘blessed’ missionary work.

I said exactly the same when I mentioned here that the society has changed Gwamba. He has been made to behave ‘Gospellike’ and, in the process, he has lost his art, of course not entirely but enough to be noticeable.

I am back to the very questions I ask when I talk about this; would we say Nangalembe was not doing God’s work? Is being secular pursuit of evil? Do we perhaps realize that God can try to change a person to follow His ways by perfecting the person’s social being by using music to do this? And obviously musicians would be involved to achieve this?

Billy Kaunda, Lucious Banda, Mlaka Maliro and Skeffa Chimoto? Are these secular or gospel musicians? Are they any better than Denis Kalimbe and his Ndirande Anglican Voice?

Do you now understand why Patience Namadingo is angry?

Govt. better avail resources for COVID-19 Music

The name Dorothy Shonga rings no bell to music followers in this country. It is because unlike Kell Kay, Tay Grin, Macelba, Janta, Suffix and Boy Hidden, there is nothing musical attached to it.

However, this lady has responded in proactive manner than Government officials by funding a musical production project to a tune of more than K3million to produce a song against havoc causing Coronavirus which has encouraging message to the people, currently in distraught.

With her generosity, she has managed to pool together all those artists mentioned above to come up with a tune they are calling Tigonjetse Corona which was released this week.

For long, I have written on these pages to try to interest government with music.

I have shouted myself hoarse just to at least convince Government to introduce music entrepreneurial courses into our technical colleges through Teveta. Apparently, everyone in this country is busy with politicking. Its sad that be it those involved with Tevet system or music leaders are busy licking political boots while those doing politics are busy lining up their pockets at the expense of the need.

It is the same case with the efforts to fight the Coronavirus. There is too much politics that even the managing of the pandemic has been overtaken by political buffoonery where the Health Minister Jappie Mhango, ICT Minister Mark Botomani and Homeland Security Minister Nicholas Dausi now think it is a political show-off oral treatise that leaves Malawians with more questions than answers.

It is because of Malawi’s political clowning that the crucial players in these efforts to fight Coronavirus using other effecting means have been left out.

The Government is busy bribing the Malawi Defence Force and the Malawi Police with money within the very political stratagem clearly exposing ulterior motives other than effecting the cause to a just fight against the pandemic, leaving out the most important aspects of the whole scheme against Covid-19.

This is why they have left out the musical artists. At least local Hip-hop artists Phyzix funded his own project to do a Coronavirus song, and so is Unicef which supported dancehall artist Sangie to do one.

I cannot emphasise enough on the importance of embarking on a mission to support several musicians to produce songs that will carry Coronavirus messages.

I know the politicians think drama is the best, but one thing with Covid-19 is that it is discouraging social proximity, which means those acting would have already defeated the aspect of social distance.

With music it would be a totally different case. It is possible to enter the studio, one person at a time to record a collaborative song, carrying important messages on the pandemic like the said track supported by Dorothy Shonga that I talked about.

One drawback though is that the video for the track, shows that the artists were very close and failed to observe social distance during the studio session. But this should not take us off the subject matter.

For once, I hope the ministry of sports and culture, that looks after the music artists, would really ensure that it also plays a role in the fight against Coronavirus by ensuring that it avails resources that can be used to produce audio and video pieces that can help in this war against Covid-19.

The good thing is that the fact that one of the crucial messages is encouraging people to stay at home, what it means is that if they are not glued to their radios then their eyes cannot be taken off their screens. What a better way of encouraging them to listen and watch artists they are familiar with.

If these Government officials have a hindsight in being proactive, they would by now, have crammed the airwaves with such music that even calling for a lockdown would have been a stroll in the park.

For once, can those that are serving us in government stop the political buffoonery and work for the better of the lives of the people?

 

Covid-19 brings mixed fortunes for musicians

Singers and musicians will have different tales once Covid-19 pandemic is gone.

Local reggae rulers, The Black Missionaries and soldier Lucius Banda and the Zembani Band are hardest hit, considering that their biggest revenue haul comes from live performances. These come in form on corporate or self-arranged events across the country and sometimes across the borders, especially in South Africa and Europe.

Before, this was never the route that was commonly travelled to rake in revenue for musicians because they were making sales through the OG Issah outlets that were available then.

With the advent of ICT that consequently led into piracy, many artists cried foul and without any compensation of note, this led to opening up of so many avenues to sell and market music-wares, including live shows and digital sales.

The coming in of mobile phone connectivity first brought with it, the caller tune initiative, before smartphones offered internet access to marketing and selling music.

Just with some downloads and buying through different online platform, it opened up the floodgates for most international acts. Yes, in Malawi as well, more artists have invested in these markets more, although it is yet to be as lucrative as is the case in the West.

Malawi artists have even taken advantage of mobile phone transactions through mobile banking and mobile money technology and it surely and slowly is becoming the way to go, especially now that Covid-19 pandemic has come amidst us.

Elli Njuchi, released Extended Playlist (EP) titled The Book of Z. The same was the case with local hip-hop stalwart Phyzix, who has also released an EP called Gamba Season.

In just three days, Phyzix made over K1 million in digital sales using digital platform and more money is still trickling in. The same is the case with Elli Njuchi who has also made over a million after a week or so. If truth be told, without Covid-19 this kind of sale was going to be impossible in a normal sales day.

Others that have also decided to take advantage of the situation are artists like newly branded Nyago, formerly Trizah Titus, as well as Joe Kellz who have held live stream concerts through among other digital spaces, their Facebook pages.

It is, therefore, disheartening that the Covid-19 pandemic has buried the big guns like Ma Blacks and Lucius Banda. It is high time management teams of these musical outfits started thinking outside the box and took advantage on the internet to not only make money but also stay in touch with their fans through live streaming performances.

While other artists continue to pray and hope for a miraculous end of the pandemic, other are finding ways and means of surviving and thriving.

I hope one day, sooner than later artists can learn from this situation to always have more than one means of selling one’s creativity.

Holding shows is good but it surely should not be the only way.

How many artists in Malawi have YouTube and Facebook channels to interact with their fans?

How many have built a fanbase on social media?

What about selling branded materials like T-shirts, caps and coffee mags just to name a few?

If you study the trend of international artists, you will notice that they do not only rely on one thing. They may do music as their only bread and butter but they serve the same music in different forms to different audiences.

Let this Covid-19 be an experience to wake up our artists to think outside the box.

Otherwise we cannot wait to see the majority of our artists back on stage as soon as this nightmare is over!

 

Time to pay attention to Elli Njuchi

At 19, Chifuniro Steven Magalasi, christened with showbiz name Elli Njuchi, is exactly where most of his peers would want to be, musically.

He is the 2018 best new act UMP awards winning singer/songwriter in appreciation of the track that catapulted him to fame: Illuminati. Or was it the award of best upcoming act? Or the 2018 UMP Awards Best New Comer? To me, it matters less, all I know is that there is an award in the bag and many more are coming to fill this bag to the brim.

Last year he made history in his musical career by being one of the youngest artists to star at the 16th edition of Lake of Stars Discovery held at Kachere Kastle in Nkhata Bay.

Now the young Afro pop and Reggae Dancehall artist has released Extended Playlist (EP) titled The Book of Z.

Ostensibly, there were plans to launch the EP with his newly set-up band – The Hive at Barbecues in Blantyre but had postponed it until further notice due to the COVID-19 scourge.

The EP has since been released digitally and his fans are now able to access it through mobile money and bank transactions.

What has compelled me to opine that perhaps time is ripe to start taking the young Njuchi seriously is the EP package that is unfortunately being sold online at a meagre K2000.

What makes part of the package are the seven tracks in the descending order: Zisunge, Zitheke, Zilu(ngamo), Zitaye, Zitatu, Zithe, and Z. As you will appreciate, the EP is called The Book of Z because all the songs in the musical collection has stories that start with the letter Z.

Then there are three cover pictures that have been artistically and professionally designed to really grab the international interest. There is a list of credits, there is an acknowledgement through what he calls Letter to Hive and finally the juggernaut is the booklet of Lyrics. Now this is what I call serious music project.

At his age, Elli Njuchi has done what established musicians only see in their dreams. They are always in a hurry to release an album without regard to ensuring that marketing and selling a brand goes with its attendant condiments that puts the work way above the rest in terms of quality and class.

What I also find the lyrics interesting is the fact that they help you to get into the brain of the young artist and appreciate that he thinks big when it comes to writing his music. While his peers will do a ‘kick and rush’ kind of work as they try to court fame, Elli seems to have decided to remain steadfast as his eyes are set on the big prize.

The track he is calling Zilu(ngamo) is in fact cries of an abused wife; the track Zisunge seems to be a dedication to his sister Yankho, encouraging her to aim for the future’s best; Zitheke, as he says through several interviews that this EP is full of stories of hard work and self-belief, this is the better song to demonstrate just that.

It among others, validates this hard-working belief through this line: Sititola chikwama ase timasoka; Ngati Sikuphula Tidyera Pamoto.

This is the track where he is encouraging all endeavours to ensure that the youth are standing on their own; be it through piece works, businesses, hassling in the city or pursuing education. He encourages all to push until it works (Timaphusha Mpaka zitheke).

This EP will definitely help brand Elli Njuchi as a serious competitor in the music game, if it is not locally, he could as well break the international barriers. I declare that its indeed time to take Elli Njuchi seriously.

 

 

 

 

 

 

One and only Kenny Rogers – And Manu Dibango

At the time when the whole world is plagued with Covid-19 one would expect that nothing else would be so compounding as this Corona virus. But no, two musical giants have just passed and one killed by the same virus and the World has even mourned more.

Kenny Kenneth Ray Rogers, singer and musician, who was born back in August of 21st 1938 died this week on 20th March 2020.

Four days later, Cameroon saxophonist and songwriter Manu Dibango lost battle to Covid-19.

These two are not just any other musical artists.

Kenny Rogers is one artist who personified blessings. He just had the right voice for his trade and no wonder even in Malawi the least exposed would at least not to hesitate to mention him as one of the drivers of the Country and Western genre.

Before I can tell my story on how was influenced by the iconic American star, I would like to share with you just how revered he was in terms of his contribution to the world of art. Amongst his countless honours are three Grammys, six Country Music Association awards and eight Academy of Country Music awards. Seven years ago, he was inducted into the Country Music Hall of Fame.

Besides being an author, Rogers was also a keen amateur photographer.

His photographic toils came to the fore in 1986 when he published Kenny Rogers’ America, which features pictures he took while on tour. A year later he published another one Your Friends and Mine which was comprised portraits of superstars including Elizabeth Taylor and Michael Jackson. His other photography production of 2005 called This Is My Country included some of his Country music stars like Willie Nelson, Tammy Wynette and Parton.

He wrote a book that detailed his musical play called The Toy Shoppe which was published in 2000. To his credit is also his memoir, Luck Or Something Like It, which appeared in 2012. This was followed in 2013, by a novel which he co-wrote with Mike Blakely called What Are the Chances.

He was also an actor and one act that made him famous is a string of TV films where he played the title role of Brady Hawkes that were crafted after his hit The Gambler.

Many Malawians know by heart some of the famous tracks that Kenny Rogers, who has died aged 81, made for the world including the all famous The Gambler, Lucille, and Coward of the County. Rogers and Dolly Parton had also a huge success with their duet Islands in the Stream in 1983 which also took over all spaces in the country.

Now turning to Emmanuel “Manu” N’Djoké Dibango, a man born on 12th December 1933. He became famous with his 1972 track called Soul Makossa, which has a special place in the world’s music of Funk. The song was composed on the occasion of the 1972 African Nation Cup and become an anthem during the rest of the competition.

This Cameroonian saxophonist and vibraphone player, who developed a musical style of fusing jazz, funk, and traditional Cameroonian music benefitted a lot later in the years from this track which managed to gain mass appeal when the New York legendary DJ, David Mancuso who found a copy of the track within a West Indian record store based in Brooklyn, New York, USA.

It got heard by New York premier Black Radio DJ Frankie Crocker and once he started playing it on his show, the song was on everyone’s lips. Over 23 different record labels had their own version of the song.

The song also gained even more populace in modern times, as the “hook” was used in two songs by major artists Michael Jackson within his song called “Wanna be starting something” 1993 and Rihanna’s “Don’t stop the music”.

In 2009, Manu Dibango filed a lawsuit against Rihanna and Michael Jackson claiming that both of them had used the “Hook” -“ma-mako, ma-ma-sa, mako-mako ssa” – without his permission.

Michael Jackson admitted that he borrowed the line and settled the case with Dibango out of Court.

What a loss we have suffered!

 

 

Gospel has boxed Gwamba’s talent

Duncan Zgambo, the great Malawian rapper known by stage name Gwamba insists that ever since he turned into gospel all his songs are doing remarkably so well, despite people thinking he would lack creativity in gospel material.

He has also done a track called ‘Unatha’ which apparently also tries to disparage his formative creativity in music or better still his career in the secular arena. In the track he seems to be dismissing all his works as ‘useless and swearing songs’ ‘Ukuyimba zotukwana muja unkandiwaza’ – (You used to overawe me when you were singing swearing songs) goes one of the lines.

All this explanation and singing about it means one thing, Gwamba knows he lost his creative gumption the moment he crossed the line because of the perception that is associated with being holly etc. There are always needless efforts to achieve ‘political correctness’ in a religious way.

Let’s look back, in 2013, Gwamba released three singles that turned the heads of the music loving fraternity and gave him their attention. It is tracks like Ndi Ofewa featuring EMM Q, Bola Kusache featuring Nesnes and Ndiyima Pachulu Featuring Bucci, that set his path to stardom, due to the uniqueness of his approach.

Gwamba argues that as a Gospel artist three tracks that he has dropped like “Better” “Alleluyah” both of which features Emm Q and “Nzeru” featuring Maskal can compete shoulder to shoulder with the other three tracks that I have mentioned above.

Gwamba and the rest of us know this is not correct. Well, Gwamba has become wealthy now than before, thanks to his association with his brother-in-law Prophet Shepherd Bushiri. If you were to have two choices, to be Gwamba who is singing secular music but remain a pauper as opposed to Gwamba who is now rich and only sings Gospel, the choice he took is perfect for and to most of us.

What has suffered is the fact that he has decided to forgo the creative approach to his music making excellence of the old.

Gwamba started rapping at the age of 15 in 2005 and this is the portfolio he has built as an artist all along.  It is both a loss to the Gospel and secular music cycles that his mindset locked away his creative juices because we have attached some behaviours that should be followed when you are a gospel musician.

I once wrote that mentality is of essence when any one person decides to venture into music

The argument I am advancing now, I just realise its similar to one that I once raised about the self-acclaimed Honjo inventor San B. He launched his career as a secular artist, and along the way, I thing he did a number of best hits but one I would want to dwell on is what I still consider as a master piece which goes like ‘Mukanena kuti Ha!Ha! Halleluja! Inu muziti Amen, akulu ampingo amve…!”

In the first place, he innocently did a secular song that touched on the gospel and depending on what one wanted to believe, this was either a gospel piece or a secular piece. San B bought the gospel sense and declared himself a gospel artist.

Just like I argued then whether San B or Gwamba wants to believe it or not, when they became gospel artists, they lost their music panache.

Interestingly Christianity, like all other beliefs, somehow is enemy to reality. It finds a way to hide truth by bringing in the underhand of Lucifer.

I am saying this because San B, Gwamba and their gospel followers would think Satan is using me to discourage them from continuing the ‘blessed’ missionary work they have started. But my stand is the two were the best when they had secular sense when doing their music than now when they are spreading gospel.

However, what could be an interesting aspect is perhaps a little recall to where we are coming from as a nation that came to grips with a penchant for good music. You remember when the Joseph Nangalembes, the Robert Fumulanis used to rule the airwaves, was there any divisions like secular and gospel artists.

Would you therefore say Nangalembe was not doing God’s work? Is being secular pursuit of evil? Do we perhaps realize that God can try to change a person to follow His ways by perfecting the person’s social being by using music to do this? And obviously musicians would be involved to achieve this?

Well, I might seem to be digressing, but my point is that musical talent that is in the artists is endowed as the artists sense it; it should therefore not be compromised to please anyone.

If you pause a minute and wonder, would you say a musician is supposed to consider what the audience would want to listen to, or what he or she has to unravel from the gods of novelty in the subliminal.

Billy Kaunda, Lucius Banda, Mlaka Maliro, Skeffa Chimoto and who else? Are these secular or gospel musicians?

Will it be for them to tell us they are gospel musicians or it’s up to consumers to conclude where they belong.

The all great Wambali Mkandawire once declined to accept that he is a gospel musician he instead said his is spiritual music.

 

Unpolished diamond that did Maloto Sang’amba

Last weekend Blantyre’s Club 20 Four 7 hosted several performers in what was dubbed the hit-makers show. One of the hits of the moment is Maloto Sang’amba done by a new kid on the block Emmanuel Kambanje, whose showbiz name is Manzy. The song also features his elder brother Wales who calls himself Wale.

Watching the brothers play at the venue at Kameza you could clearly see that the boys have been rushed to start performing. The backing band did their best but it was a pity to see the futility in efforts from the boys.

When you listen to the track, it is clear that it is a well thought out production as the artist depicted artistic and inventive impression in stating the obvious in a musical way.

It is the power in the production of this track that renders the more expectations from the music lovers that have fallen for it. It is for this same reason that patrons to the show well filled with expectation that they will be treated to the same level of class that Maloto Sang’amba has demonstrated.

I was confident that what Manzy has done in the studio will be projected on stage. Right after ascending unto the stage, Manzy who was being backed by the elder brother set down to business playing some of his tracks that we had never heard before. Listening to the tracks for the first time meant that there will be mixed feeling on the dance floor. And indeed, other patrons were very patient with them, listening and expecting for the juggernaut track to send them spell bound. Others started shouting that they wanted Maloto Sang’amba because they didn’t know about the other tracks.

You could see from Manzy’s body language that he really needs a good stage coach to give him a lesson or two on how he should carry himself. Then it was also very clear that he also needs a vocal coach to train him to give it the same feel that he pumped into Maloto Sang’amba recorded track which missing in the one that was performed.

I am not sure how many preparatory sessions Manzy has gone through before he decided that he was ready to face the crowd. There is need to ensure that a live performance should not take the value that a recorded track endears itself to the fans.

The two brothers told The Nation recently that they have played music together from back in the day. The Newspaper reported that Manzy started out at Chamchenga Catholic Choir in Nkhotakota around 2002, but he reunited with his brother in 2006, in Zingwangwa.

They set on their first project, an album they recorded at guitar maestro Collen Ali Matola’s Trutone Studios. The duo recorded their debut 10-cut collection, Ndi Mfumu.

As you will appreciate many people do not know about it, just like I have only read about it in the newspapers now. It means there is a lot of work that is put into making uncut diamond polished for the market.

We all agree Manzy and Wale have proven beyond doubt that they have studio talent, however this has to be in line with their stage performance.

Imagine the boys stepped on stage and just whipped into action with songs the patrons have never heard of. What about a little greeting and an introduction to the tracks so that as performers you create an atmosphere where you are on the same page with your audience.

I gather their elder brother, Martin, who noted the interest in music of his young siblings did not only establish TK Studio for them in Zingwangwa but I guess by default became their manager.

We might be accused of trying to be seen to be showing that we know what is best for Manzy and Wale now that they have hit the jackpot, in the sense of fame of course, but we were not there when they were struggling. Yes, that’s how life is. Now that they have managed to draw our attention, we become part of success and we speak with unconsented authority.

Anyway, my point here is that the fact that one is sponsoring or in general is the number one benefactor of our artists does not give us the permission to become their managers. More so when such manager does not know what being a music manager or artists manager entails.

This manager should have known that Manzy and Wale are not ready to do stage performances. Let there be a vocal trainer for them and even a trainer for stage mannerism.

 

The Billy Kaunda-Lucius Banda Debate

This week, Patience Namadingo was at it again. He released another reggae mashup medley in collaboration with another living music legend, Billy Kaunda.

The moment he did, some evil and shallow minded people decided to make it a case against Billy and Lucius. While others felt Lucius was better others argued it was Billy who was better.

Furthermore, others felt the first two mash up productions with Joe Kellz and JJ Kasokwe was better than the two.

One clear thing that everyone must know is that music is a mission and not competition.

It is therefore clear that the feeble minds that started and perpetuated this debate do not love music for what it is.

Granted, for argument’s sake let’s compare Billy and Lucius. On what grounds would they compete on? Their music is different to begin with, and not to mention their musical philosophy.

When these people introduced Malawians to the local music middle to late 90s, there was also this debate which reduced to hushed tones.

Billy’s music cannot compare with musical productions of Lucius in the sense of trying to get number one.

When you consider the musical paths that the two have taken, you will agree with me that these are totally two different artists. It’s like trying to compare mangoes and bananas because both are fruits. It’s that simple, when you don’t like a mango just don’t badmouth it, just look for your favourite banana. If you have been invited to lunch and the dessert is a mango salad as opposed to your desired banana salad, you cannot condemn the whole lunch because of your biases, it is against the principles of fairness and justice.

My point is that, lets respect our legends in their deserved accolades, we really cannot afford to start pitting them into unnecessary pissing contests.

What we should be talking about is the innovation behind these productions as I pointed out last week.

Just sample some of the comments on Namadingo’s Facebook post of the video:

 

Lee Ajussa Leonard:  “My take: Billy Kaunda started with off-keys BUT later built on his confidence as the song wore on…”

Wondeŕful Mkhutche: “Oh man! Oh man! Never felt this good in a long time. Wow!”

Mahara Mhango: Awesome stuff, can’t wait to hear the one with Lulu or George Mkandawire

Temwa Luhana: “To those comparing this one to the previous one …it’s not a competition…he is doing all this so that we can appreciate our legends…”

Sunga Ner Micigan: “Billy has been hiding yes, but the voice still sounds fresh. My favourite artist in those days Billy, I just love this man. Great works both of you”

Joel Changulungunda Kumwenda: “Don’t compare Mash Ups, you are losing out on the sweetness of them all.”

Josephine Gwaza: “Beautiful work! The intensity in Billy’s vocals is on another level. The gentleman can sing.”

Pitt Mankhambira: I think Billy Kaunda is too dynamic in choice of key in individual pieces. He cannot be compared to Soldier who I find sticking to certain keys. Both are great musicians though. I love their works.”

Knockie Dread: “Kudos to all the artists that Namadingo has collab’d with. But who’s that wizard operating the sound recording devices. He’s simply amazing!”

Kamanga Jonston Jonny: “The sequence of the songs is so brilliant! One song speaks to the other, and that’s real measure of artistic brilliance. Well done!!!”

Gloria Maseko: “Malawi is rich with great talent. I wish we could deal away with jealous as it is a deterrent factor to development.”

Austin Mathews Matola: “Nice effort Billy’s lines were hard on that instrumentation…. Overall, it serves the purpose.”

Yvonne Audriana Mkwamba: “Inu ama comparisons inu…step aside we should enjoy the talent that’s before us.

Yezgani Munthali Kadyakale: “Wow…the vocals anakonza, didn’t know Billy Kaunda is this good. This is THE VOICE!! Patience, you never disappoint ooh!!!”

Christin Kathyl: “Why are people comparing mush-up ,enafe zatikomela ,Billy Kaunda is not Lucius Banda eish”

Harriet Chiwaula: “Beautiful! Opanga compare zichedwani ife tikunjoya…”

Mada Mumba: “Thank u Namadingo and BK respect hey u got us smiling throughout the 10mins of this mash up God bless u”

Tiwonge Tiwoos Kayira: “You will get tired comparing every mash-up against that of soldier, just keep appreciating every mash-up as it comes.”

Tassira Mercy Sitolo: “I miss Billy Kaunda songs, this is good. Za compare zo nzanuso”

Yami Lawrence Kachuma: “Ineyo sindikupanga za ma comparison… Koma this is lit…. Respect Big man…. Pure talent pure niceness… Keep up the good work…”

Nelson Luhanga: “This is awesome Malawian music… I’m from Zambia and I just want to compliment Uncle Billy Kaunda and the friend; you people can sing …”

Innocent Yamikani Juma: “I love the whole concept sir Namadingo …Billy’s voice I like so natural, the selection was too good…”

Shezzy Nasato Banda: “I am getting goose bumps…!!”

Agness Chilasa Wincott: “Well done you two. Your chemistry was good. Eye contact. Body language. On point.”

 

 

 

The other side of Soldier – Namadingo

Recently, legendary soldier Lucius Banda collaborated with musical innovationist Patience Namadingo to come up with what they called a reggae mash up medley. It is littered with a number of songs that Lucius has recorded over a couple of decades that he has been performing.

While the production is now dominating all entertainment outlets, it has also generated suggestions and accusations from different ‘Monday coaches’ who are pretending as if they knew in the first place that this was in the offing.

In other words, the production came as a pleasant gift to the music fraternity which also help expose Mozy Moshu Shumba on the piano.

I do not want to add any voice to the protagonists or antagonists in this debate. But I thought this should once again have opened eyes to appreciate Lucius Banda’s music gift to this country.

The product has such tracks like ‘Nthawi’, ‘Mabala’, ‘Yellow’, ‘Esther’, ‘Tina’, ‘Samuel’, Jacuzzi’, ‘Paulendo’, ‘Mzimu wa Soldier’, ‘Lilikuti’, and ‘ A Mike’.

It takes you back down the memory lane; into the passage of time; and gives you Lucius in different earlier shades of his music production. Now that this year he is celebrating his 50th birthday and 25 years in marriage, there is more reason why we cannot help it, but celebrate the man, the politician, the father, brother and the music legend.

And if he so decides to release another album in this 2020, that will also be Lucius Banda’s 20th album, I won’t be surprised if it will be called 2020. Anyway, it is not like I am giving him any idea, ten years ago he released an album, which the Malawi government also banned it on national radio, that he called 15 -15.

Over the years, I, like most of the people in this country and abroad, have come to appreciate that ‘Soldier’ Lucius Banda does not just sit in our music ‘hall of fame’, but he actually provokes veneration as he sits there on the high table.

After the multiparty dispensation it is clear that Lucius Banda played an influential role to chart the way for the Malawi music.

For the records, Lucius is someone who first appeared on stage in 1985 with his brother Sir Paul Banda-led Alleluya Band. By 1993 he had joined Dorkey House in Johannesburg where he studied music for a year and it was around this time that he recorded his maiden album titled ‘Son of A Poor Man’ at Shandel Music Studio.

After recording his fourth album called ‘Take Over’ in 1997, Lucius graduated from Alleluya to create Zembani Music Company which had also an offshoot in the name of Zembani Band.

Of course, from the word go, he said his intention in forming the band was to help local and up-coming musicians in Malawi.

Many a name that are now hogging the musical limelight have passed through this band. They include Billy Kaunda, Mlaka Maliro, Dan Lufani, Wendy Harawa, Emma Masauko, Enort Mbandambanda, Charles Nsaku and, of course, the late Paul Chaphuka.

With such a history, the least we can do is to let him wear the cap as it is him whom it fits.

Soldier on one side and Patience on the other was like a vocal contest that told us that Lucius has never been a wanderer in the world of music. He is leaving huge footprints and considering that the soldier’s journey is ongoing, his counsel can do a lot of good to those aspiring to achieve musical success in this country.

Besides his music offerings, he is also trying to offer us his son Johnny. This is a story for another day as I think he has a huge task to be Lucius Banda’s son in the world of music. At the start he won’t be good enough because his toils will always be compared to the achievement of his dad.

Much as it won’t be easy to be Lucius Banda’s son, I hope the best should be expected from Mapiri Bakili Banda, his youngest son.

Long before Jonny came on the scene, Lucius was already fascinated with Mapiri that he once conceded that he thought he could not match the musical prowess that was engrossed in his 10-year-old son.

The Unique Oral History of Bob Marley – 4

I intend to finish exactly in the same way that I opened the first of the four entries that dwelt on the 2017 biography called So Much Things to Say: The Oral History of Bob Marley by Roger Steffens by calling it a very unique narrative of who Bob Marley was in the eyes of those friends, relatives, business partners, music brothers and sisters who witnessed his life blossoming before it folded back to eternity.

Now understand this, Dennis Thompson might just be one other name you can read here but he is one of the World’s accomplished engineers. Just to mention a few, he has worked with Frank Sinatra, Ray Charles, Monty Alexander, Alicia Keys, Missy Elliot, Buju Banton, Marcus Miller, Dennis Brown, Steel Pulse, Burning Spear and of course, Bob Marley and Peter Tosh.

Dennis Thompson is one of the world’s best live show engineers. Steffens explains that Dennis Thompson joined the Wailers touring company in 1976. He was enlisted as an accomplished engineer as Bob recruited new members.

He first met Bob in the studios and hence also worked with him there for Bob’s productions. Thompson clearly state how Bob yearned for quality;

“Bob would do twenty tracks of “Ambush in The Night,” vocals, and he’d say, “Which one you like?” It’s all twenty, but we had to pick one. He never sang the same song same way twice. He do different moods, different feels. He was just prolific. That’s the kind of person he was.”

Bob was also a uniquely very generous human being. In Jamaica and abroad he helped hundreds and thousands of people.

This is well captured in the book through the eyes of Marley’s business manager Colin Leslie who stated that whenever Bob was in Jamaica his home would be filled up with people. It would be overflowing into the streets, down the sidewalks.

“We would go up into the late hours of the night. He would literally have people lined up and he would be interviewing them. Find out what were their particular needs. And there were all kinds of stories, all kinds of people. Women who had lost their baby father through political violence. People who wanted to set up various ventures.”

In the book Leslie also shared humour just to explain Bob’s bigheartedness. “I give you a little joke. Somebody came to him one day with an idea to set up, to produce and manufacture coconut oil. And Bob found it very funny, he would laugh and say, “I always wanted to be in the oil business.” So, he financed this guy!”

Leslie says if people wanted to buy and sell, and ‘he would interview them, literally interview them, and then he would send them to me and say, “Give them X amount of money.” And I would write the checks. This would go up till nine, ten, eleven, twelve at night. And I would just be writing checks, to give these people’.

Bob Marley did not only attract the ordinary mortals the book shows that Survival which he released in late 1979 had one of its biggest fans in John Lennon. It quotes Photographer Bob Gruen who revealed ‘that Survival was one of the only records the ex-Beatle played during his five-year house-husband exile in the Dakota building in New York’.

The book also talks of 1978, the year Bob flew to Africa for the first time. He landed in Kenya with a couple of friends in an attempt to visit Ethiopia ‘but his efforts were rebuffed until one day, as he walked down a street in Nairobi, a man recognized him and asked him what he was doing in Africa. When Bob told him, he was trying to gain entrance into Ethiopia, the man identified himself as an Ethiopian consular official and wrote him a visa’.

Steffens says the short trip opened Bob’s eyes to the reality of the situation in Ethiopia following the coup that had ousted Haile Selassie in 1974. ‘All images of His Majesty were forbidden. He was shocked that there was no evidence of the Rastafarian faith, except for the area around Shashamane in the Oromia region of the country’

The Unique Oral History of Bob Marley Part 3

Let me this week delay by a week winding up the review of the 2017 book called So Much Things to Say: The Oral History of Bob Marley by Roger Steffens which we have been talking about the past two weeks.

I will start by trying to clear the misconception that suggests that Peter Tosh and Bob Marley never saw each other eye to eye soon after the breakup of the Wailers Band which they co-founded with Bunny Wailer.

This unique book that tells Bob Marley tales known and unrevealed, clearly indicates that in the mind of Tosh, the disintegration of the group, was the rebirth of three better musical entities which was for the benefit of music lovers.

The book quotes Tosh in verbatim: “Well, was not a breakup, you know, is just going three different ways and sending the music in three different directions. Was just that my inspiration was growing and my cup filled and runneth over. . .. One man grow mango, another grow pear.”

About the reasons that informed him to leave, Tosh says ‘it was a ras-claat and pure fuckery… the company wasn’t living up to their side of the agreement, the respect and everything that was due, was pushed aside. And we couldn’t take them fuckery there, because after having twelve years of experience of what reggae music is, the first thing Chris Whitewell (Blackwell) told us was that it would take him five years to build us. That was after we knew all that we know, it was going to take us another five years of twelve to build us again. I want to know what else he was going to put on us.’

When it was clear that the three personalities that had transformed the World Reggae face will never again operating on the same wavelength, Bunny Wailer decided to create labels that later became his and Tosh’s, these are the Solomonic and Intel-Diplo.

“I brought the two of them to Peter and just say pick one and he picked Intel-Diplo.” Wailer states in the book that the Solomonic Production was therefore destined to be his label. He gloats that he designed the two labels and that Intel-Diplo is very deep.

Basically, it came from the same base of reasoning where he says the Biblical King Solomon was an intelligent diplomat. “…I only shorted it. Either one of them would mean just the same, because King Selassie I say we have to live as intelligent diplomats among men, so you have to be wiser than the serpent and more harmless than the dove’.

Another book’s highlight is where Roger Steffens also talks about one of Bob’s albums called Burnin’. He washes his hands by writing: “Let the final word on the eternality of Burnin’ rest with Jon Pareles, the eloquent chief pop critic of the New York Times.”

This is the case because he says in 1996, the Times’s Sunday magazine celebrated its one-hundredth anniversary of publication, and asked each of its critics to choose one work of art in their field that they believed would survive a hundred years into the future.

Pareles chose Burnin’, immortalizing it with these eloquent words quoted in the book: “Bob Marley became the voice of third world pain and resistance, the sufferer in the concrete jungle who would not be denied forever. Outsiders everywhere heard Marley as their own champion; if he could make himself heard, so could they, without compromises. In 2096, when the former third world has overrun and colonized the former superpowers, Marley will be commemorated as a saint.”

The Unique Oral History of Bob Marley Part 2

Last week I introduced the 2017 book called So Much Things to Say: The Oral History of Bob Marley by Roger Steffens which is a unique book that tells tales known and unrevealed about the Robert Nesta Marley, commonly known as Bob Marley.

We stopped by looking at a quotation from Higgs as follows: ‘When Bunny and Bob were growing up together, Bob was not treated as one of the family. He was like an outcast in the house. His mother today comes with this legacy, as if she were there. Bob was sent to learn welding, while Bunny was sent to school. Toddy (Bunny’s father) didn’t put any money into Bob’s corner. The mother, Cedella, wouldn’t allow anybody to know he was her son. One day he was holding tightly to her, and she box him away. He slept beneath the bottom of the house.’

His step brother Bunny Wailer agrees: ‘Bob was a wild child. He was like the ugly duckling. He had to find his own little brush to pick, and his own little cornmeal. Nobody wanted him around their corn, so he gets what’s left. He just had to survive. His most serious endeavour was just to eat and drink. There were many nights of cold ground for his bed and rock stone for his pillow. Countless nights. Bob was not a child who get anything that he sought. He didn’t get what any other child got’.

Higgs explains in the book that he first encountered Bob Marley when he was on Second Street and he was on Third Street and was known as a very light-skinned chap living in the ghetto. People called him the little red boy, and he would be beaten up by a lot of guys.

“This is when Bob and Bunny were living in Toddy’s house with Cedella”.

Higgs explains that a guy by the name of Errol Williams, whose father was a man who had a scrap iron yard on Spanish Town Road and Bread Lane near Back O’ Wall, used to tell him he’d like him (Higgs) to teach Bob Marley to sing and play music.

Higgs says Errol was like Bob’s father and mother; he’d give him daily ten shillings or a pound. Errol according to Higgs was a half Indian guy, from a family of the owners of Queen’s Theatre, King’s Theatre and a Vineyard Town theatre. Errol was always a father figure to Bob, older.

Steffens says he named the book With So Much Things to Say – The Oral History of Bob Marley, after one of Bob’s most evocative compositions. He says in the book he set out to illuminate with first-person depth the parts of Bob’s life that have been only partially explored.

The book’s main topics include Bob’s pre-recording years in Kingston; the backstage reality of Coxson Dodd’s Studio One; his exile from Kingston in 1966 and 1967; the Danny Sims–Johnny Nash manoeuvrings of the late sixties and early seventies; the perilous history of the group’s relationship with Lee Perry and the disquieting reasons for their split; the breakup of the group in 1973; the assassination attempt in 1976; an inquiry into whether the CIA was complicit in the attempt on his life; the controversial events leading to the One Love Peace Concert; his trips to Africa, including shocking behind-the-scenes stories of Gabon and Zimbabwe; and the history of his fatal cancer and its treatment.

The other interesting aspect in the book is where Steffens says racism was rampant in those days, and the light-skinned leaders of the country were deeply influenced by four hundred years of British colonial rule.

For Bob, Steffens writes, ‘his colour seemed to be an impediment wherever he turned, causing him to turn inward, a solitary soul relying on his own inner strengths. Even more significantly, the rejection by his father weighed heavily on him throughout his life’.

Reggae music popularised Rastafarian way of life and Bob has a bigger portion of credit for introducing it to the rest of the world. The book also captures how Rastafarian livity came about while Bob Marley and his colleagues were about to set up themselves, musically.

Writes Steffens: “They (Rastas) had their own language, too, based on the holy trinity of word, sound and power. One conceives the word and when it is sounded from a pure heart it is the very power of creation itself. “Weakheart conception haffe drop,”

goes one of their favourite expressions. That is, if you have an impure motive, whatever you are saying is doomed to death and destruction. Everything in the Rasta lingua must therefore be positive and constructive. And there must be no separation among mankind—thus the locution “I and I,” meaning you and I, God and I, God in I, because we are all one manifestation of the true and living God. “Yes I,” say the Rasta, because they are really talking to themselves.”

He further explains: “Thus, there are no plurals in Rasta-speak, underlining the “I”-nity of all. They don’t go to a university but to an iniversity; nor would they visit a library, rather a true-brary, because lies lie buried in a lie-brary.”

The Unique Oral History of Bob Marley – Part 1

If one loves reading biographies, the 2017 book called So Much Things to Say: The Oral History of Bob Marley by Roger Steffens is a unique book that tells tales known and unrevealed about the reggae King.

UK reggae dub poet artist Linton Kwesi Johnson describes Steffens as writer, broadcaster and photographer, a respected scholar of reggae and renowned archivist specializing in Bob Marley recordings and ephemera in his introduction to the 340-page book.

What is unique about the book is that for close to forty years, Steffens talked to scores of his friends, associates and family members who shared with him intimate details of their interactions with the Reggae King which is presented in the book in verbatim.

In the introduction titled The People Speak, Johnson says in an essay that he wrote on the lyrics of Bob Marley’s Exodus, which was voted album of the twentieth century by Time magazine, he said of his lyrical genius that it was based on his “ability to translate the personal into the political, the private into the public, the particular into the universal. And when you read through the book, this is the experience that never goes away.

I agree with Johnson that what indeed makes Steffens’s book ‘unique is that the author does not present a portrait of the artist through his own lens but instead presents us with a collage of impressions seen through the eyes of others’.

Johnson acknowledges that for many years, Steffens has travelled the world telling Marley’s story with his illustrated “Life of Bob Marley” lecture but in the book he allows those who knew Marley to give their versions through the seventy-five interviews with people close to Marley who speak candidly about what they witnessed of the singer’s life and times which he put together in form of the book.

The book has Bob Marley’s mother Cedella, wife Rita, childhood friends including Peter Tosh and Bunny Wailer who were part of the original Wailers Band speaking out about Bob Marley.

It also has some heart touching revelations. Take for example the parts that talks about Bob’s childhood.

Steffens write that Bob’s earliest years were filled with neglect and rejection by both races. Whites thought of him as a black child; blacks, critical of mixed-race children, taunted him as “the little yellow boy.” Even his revered great-grandmother, known as Ya Ya, referred to him as “the German boy.”

The book also reveals that ‘Bob’s mother entered into an on-again, off-again relationship with Bunny’s father, Thaddeus “Toddy” Livingston. Their affair produced a daughter named Pearl, sister to Bunny and Bob, born in 1964’.

Steffens explains about Trench Town in Kingston Jamaica where Bob grew up which was known as a ghetto and it was difficult for people from there to find jobs once potential employers discovered their address.

Steffens writes in the book that among the only ways that law-abiding people were able to escape were through sports or music, and the area was known as an incubator of great talents in both fields.

Now, one of the most important was Joe Higgs, widely regarded as “the father of reggae” who was among the earliest of Jamaica’s recording artists, who became Bob Marley’s most significant mentor. Steffens writes in the book that Higgs not only coached Bob; he was a musical teacher and guide to a host of other Jamaican artists, including superstars from the earliest days of ska and rocksteady, the predecessors of reggae.

Before his passing in 1999, he lived in Los Angeles. Steffens says he worked with him throughout the late nineties on his never-completed autobiography, from which his quotes in this book are taken.

Higgs is quoted as saying: ‘When Bunny and Bob were growing up together, Bob was not treated as one of the family. He was like an outcast in the house. His mother today comes with this legacy, as if she were there. Bob was sent to learn welding, while Bunny was sent to school. Toddy didn’t put any money into Bob’s corner. The mother, Cedella, wouldn’t allow anybody to know he was her son. One day he was holding tightly to her, and she box him away. He slept beneath the bottom of the house.’

His step brother Bunny Wailer agrees: ‘Bob was a wild child. He was like the ugly duckling. He had to find his own little brush to pick, and his own little cornmeal. Nobody wanted him around their corn, so he gets what’s left. He just had to survive. His most serious endeavour was just to eat and drink. There were many nights of cold ground for his bed and rock stone for his pillow. Countless nights. Bob was not a child who get anything that he sought. He didn’t get what any other child got’.

Fredokiss – The Most innovative performer of 2019

The most innovative musical act for me for 2019 is Fredokiss. He has proven to use music for good cause. He has used music, which calls for innovation in order to make, to be innovative.

He has proven that he can start something that others can follow. Two years, can we now say three years ago perhaps, he did what he christened The Ghetto King Kong Concert in the country’s three cities. The three shows which were for free saw the largest of crowds I have never seen in recent times. Afterwards, several artists have been trying to copy him and he has not even blowing his own trumpet.

Yes, he used music to try becoming a member of parliament. His approach was oozing inventive endeavour that even made those that edge him out still feel envy, as if he is the one who won.

When one would have expected him to cower and crumble under the weight of this hurdle which he did not surmount at this first attempt, he rolled his sleeves and launched ‘League For Change’ targeting the youth.

What he has eventually done is attract more youth, some who had never heard of his music to want to know all about his music.

Fredokiss registered League for Change which deals with issues bordering on social justice and humanitarianism. He also employs many ways of achieving the same one of which is letting the youth organise events through different wings that have come following its establishment.

Some of such activities include Football Bonanza and numerous other activities stemming from community leadership.

Just two weeks ago, on Christmas day, Fredokiss entertained young people at Zingwangwa Youth Center, including introducing Jumping Castle which some of these children have never come close to.

Imagine, Fredokiss had an audience with the US Embassy’s Public Affairs Officer- Doug Johnston where they discussed a lot about youth and women development in Malawi.

Here is a musician who does not believe in sitting on his laurels, thinking he has conquered it all as he now sets his eyes on 2020 where he says his Goal to start a project called “Project Nyumba” under League For Change.

He will champion in the initiative where his ‘league’ will be to renovate and/or build very low income, cost effective houses for the elderly, widows and Child headed Households in Malawi.

 

The take home message from Fredokiss is that if we can gain fame through music, we can channel the interest of those that love our production to a good cause. Look, the elderly, widows and child headed family members that Fredokiss is targeting this year, perhaps do not even know any Fredokiss music but Penjani Kalua – as this is the real name of the star – has still lined up programme to reach out to them.

This is what I call an innovative musician.

Come on, tell me a musician this innovative? Who else is using music to reach out to his fans and some not his fans but have now become part of his army of followers?

It is for the explanation above that I nominate Fredokiss my performer of 2019. If you do not agree with me show me your choice and provide an explanation of your choice.