The Null Device
The Indestructible Beat
For those who missed it the first time around: a Pitchfork piece from a few years ago recapping the history of the various music scenes of Africa over the past few decades
. These scenes include the scenes of Anglophone countries like Nigeria and Kenya, in which was born highlife, a fusion of various imported musical styles and local rhythms, which in turn gave rise to the more politically conscious Afrobeat of Fela Kuti. Kuti's home country, Nigeria, had quite a vibrant music scene, with local forms of funk, soul and disco rising and the local subsidiaries of Western record labels pumping money in. Elsewhere, things varied in Ghana, between small shoestring record labels, centrally-planned systems of orchestras in Guinea, and the peculiar situation in Ethiopia where, for a short time between the thaw in of the state monopoly on music distribution around the late 1960s (Haile Selassie doesn't seem to have been a reggae fan; the bands that existed under his imperial imprimatur tended to have names like the Police Band and the Imperial Body Guard Band) and the brutal Soviet-led coup in 1975, the unique "Swinging Addis" scene flourished:
Ethiopian music can probably best be described as dark, psychedelic funk and soul. It's as though a group of highly skilled musicians were told what funk, rock, soul, and jazz sounded like without hearing any examples and then went and played all of those styles at once on whatever instruments were around-- horns, vibes, electric organs, electric guitars, piano, harp; all of it was fair game.
The article concludes with a list of labels selling African pop music of this period, and the track listing of a mix of notable tracks (consisting, somewhat uselessly, of links to lala.com, the service Apple bought and are shutting down).
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