PLEASURES OF SOUND

The one way of communication that has had and still has an endurable influential impact on old and new traditions, and trends - bridging cultural connections with a melodic evolution to humankind’s existence and people that love the pleasures of sound - is music. With the beating of drums civilization tuned its lineage of sound and musical beats, emanating from different regions in the world, altering and forging values and traditions of all tribes, groups and nations.

The spiritual attachment to sound is a universally known philosophical wisdom, which eons ago prompted spiritual religious cults to spring-up amongst uncivilized tribal populace – chanting, raving rhymes that later evolved into song (groups that are still evident to date). Cultural cults that intertwined with their community bringing song and entertainment to them by reinterpreting, enacting and creating lyrical tales that brought emotional enrichment and fulfillment - ultimately leading certain cults that were originally religious groups forming liberal musical groups that took the gift of song to another level.

This level of communication with sound, evolved into alternative genres that were originally defined from the gesticulating, hypnotizing sounds of the drum to sounds of Rhythm & Blues (Rn’B), Rock, Rap, Disco, Grunge, Reggae, Hip Hop, Jazz, Kwaito, House Music, Ragga, Country Music, Pop and Kwela (dominated by the sounds of the flute).

It is to such sounds of melodic tempo which I found myself immersed and mesmerized at a very young age during 1980s. I would watch my Bab’Mkhulu and his friends swaying and swinging to the musical sounds of Jazz and Kwela legends from the early hours of Saturday morning until the late hours of that day. The sounds of Abigail Kubeka, Lady’s Smith Black Mambazo, Hugh Masekela, Brenda Fassie, Stimela, Caiphus Semenya’s Ziphi’inkomo and Letta Mbulu’s Nomalizo reverberating all day, after the day’s humble beginning with bitter-sweet protest sounds of Jazz from Mariam Makeba and Harry Belafonte, African Jazz Pioneers with Kid Mawrong’rong blowing hard on his sax (God bless Mr. Ralulimi). Encouraged by the legendary Ray Charles fiddling with the piano through our Panasonic speakers, in the mid-afternoons with Hit the Road Jack, supported by Stevie ‘Mr. Wonderful’ Wonder’s songs from the album ‘Songs in the Keys of Life’ and the smell of Braai on our make-shift braai-stand and bellowing voices of intoxicated men; I would emulate Ray and Stevie’s famous swaying and facial expressions, pretending to be them (Jamie, that was my role son!). However my personal favorites were the late performing artists, Pop legend Michael Jackson and the king of Reggae, Bob Marley.

In the early 1990s when the cadence of Disco music was reaching its probable end, giving birth to the higher-tempo of House music; Kwaito and Afro-Pop became a new revolutionary statement for the youth of South Africa. Arthur Mafokate was the leader in this new Kwaito genre that will prove to be stronger than Mkhukhu, Maskandi or Bubble gum sounds that had dominated South Africa’s Bantu radio stations in the 1980s. Kalawa Records was born, with the likes of Thebe, Oscar ‘Oskido’ Mlangeni, Bruce Sebitlo, Boom Shaka, Bongo Muffin, Alaska, and Mafikizolo started rocking the South African music scenes. Independent players in the game of Kwaito emerged – Mdu Masilela, Joe Nina, Zola, HHP and TKzee proved to be worthy competitors altering the sound to a more lovable alternative tune with different compositions. Compositions that later in 2003 gave birth to an elusive balaclava character named Mzekezeke, with the late T.K showcasing her beautiful sensual Rn’B voice in South Africa.

Then, foreign sounds from prominent Rn’B, Rock, Pop and Rap music icons like Bono, Sting, Nirvana, Vanilla Ice, Chris Cross, Tupac Shakur, Aaron Hall, Dr Dre, Jay Z, Snoop Dogg, Foxy Brown, Lil’Kim, Nas, Mos’Def, MC Lite, Notorious B.I.G, Salt n’ Pepper, LL Cool J, The Fugees, Michael Jackson, Johnny Gill, Bruce Springsteen, Phil Collins, Elton John, Boyz ІІ Men, Brandy, PM Dawn, R Kelly, et al – were shaping the future of music globally, with Eminem, Kanye West and The Black Eyed Pease joining the fray on the turn of the millennium.

Today’s melodies and lyrical content, predominantly in the South African and American music industries need to be beefed up. When artists in the United States came out in support of a statement that was made by one of their colleague that, ‘Hip Hop is dead’ it was a collective truth the world was waiting to hear. The death of Hip Hop is brought on by the number of newer artists, sampling and repeating the same lyrics that were done decades ago. In some cases when a song is sampled and remixed, that improves the song drastically, conversely when older ‘hit songs’ are sampled changing them for the worse, it makes the music industry look like a superfluous music factory that lacks creativity.

Information overload is one of the tools that contributed to the death of the Hip Hop genre globally since the dawn of this millennium. Technological gadgets that allow people to download music not only led to killing the music industry worldwide, however played a hand in slumping the financial remuneration aimed at improving the industry and the artist’s livelihood on albums sales. In South Africa archetypes of American artists and beats made it difficult for our music to penetrate overseas markets due to local artists emulating the type of sound that has dominate the world over.

Musicians and writers who come up with their own lyrical content and structure in this industry help in advancing the musical revolution in this difficult stage of the entertainment industry. The frustrations felt by musician are also evident in their fans, with music taking a redundant route and rocketing album prizes.

In my household we embraced the joys and pleasures of sound. Music that began with the beat of the drum, music that aims at disseminating political, cultural, religious, and any societal ills that need to be addressed in camouflage - music that aim at bridging the gap of inequality; celebrating new love and rekindling old love, forging friendships, a remembrance and authenticity of life.

WORD TO A NEW MUSICAL REVOLUTION

By Linda Sakazi Thwala