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Professor Rhythm Afrobeat 2 Artikel

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Professor Rhythm - Professor 3
Professor Rhythm
Professor 3
LP | 1981 | EU | Reissue (Awesome Tapes From Africa)
17,99 €*
Release:1981 / EU – Reissue
Genre:Organic Grooves
“Professor 3”, das 1991er Album von Professor Rhythm, ist einlebendiges Abbild des städtischen Südafrika zur Zeit des Endes derApartheid. Das Projekt von Thami Mdluli sorgte dafür, dass Jungund Alt zu einem Sound tanzten, dessen Ziel es war, die Schwarzenwieder mit Südafrika zu vereinen. „Unsere Musik gab denHoffnungslosen Hoffnung“, erinnert er sich. Das dritteInstrumentalalbum (bis auf einige Background Vocals) hält denMoment fest, in dem der dominante Mbaqanga Sound und deramerkanische Bubblegum-R&B, die bis dato in Johannesburg undanderen urbanen Zentren produziert wurden Platz für einen vonHouse und Hip Hop inspirierten Kwaito machten. Der Pop derachtziger Jahre und alles, was dazu gehörte – die Synthies undDrumcomputer und die Texte – traten zurück für eine neuemelodische Betonung und langsamere Geschwindigkeiten, die sichauf einem komplett unterschiedlichen Rhythmus aufbauten. Derquietschbunte Bubblegum Sound mit seinen doppelten Breakdownsverschwand allmählich und die Sounds begannen denen deszeitgenössischen schwarzen Amerikas zu ähneln – der Hip Hopwurde langsamer, die Basslinien und Melodien wurden launischerund düsterer. Zur gleichen Zeit war House im amerikanischenMainstream angekommen und von dieser Popularität wurde auch inAfrika Notiz genommen. Diese beiden Einflüsse schlugen sich in derwachsenden Houseszene in Johannesburg und Pretoria nieder.
Professor Rhythm - Bafana Bafana
Professor Rhythm
Bafana Bafana
LP | 2017 | EU | Original (Awesome Tapes From Africa)
19,99 €*
Release:2017 / EU – Original
Genre:Organic Grooves
First time on vinyl.Key producer of early South African house music and kwaito Professor Rhythm isthe production moniker of South African music man Thami Mdluli. Throughout the1980's, Mdluli was member of chart-topping groups Taboo and CJB, playingbubblegum pop to stadiums. Mdluli became an in-demand producer for influentialartists (like Sox and Sensations, among many others) and in-house producer forimportant record companies like Eric Frisch and Tusk. During the early '80s, Mdluliprojects usually featured an instrumental dance track. These hot instrumentalsbecame rather popular. Fans demanded to hear more of these backing trackswithout vocals, he says, so Mdluli began to make solo instrumental albums in 1985as Professor Rhythm. He got the name before the recordings began, from fans, andpositive momentum from audiences and other musicians drove him to investhimself in a full-on solo project. It was the era just before the end of apartheid andhouse music hadn't taken over yet. There wasn't instrumental electronic music yetin South Afric a. As the '80s came to a close, that was about to change. ProfessorRhythm productions mirror the evolution of dance music in South Africa. Theygrew out of the bubblegum mold - which itself stems from band's channelinginfluences like Kool & the Gang and the Commodores - into something based onmusic for the club. His early instrumental recordings First Time Around andProfessor 3 mostly distilled R&B, mbaqanga and bubblegum grooves into vocal-lesspieces for the dance floor. Musically, these were a success and commercially thealbums all went gold. There were countless bubblegum albums flooding themarketplace, with nearly disposable vocalists backed by mostly similar-soundingrhythm tracks. Most of the lyrical content was light and apolitical. But thekeyboards used formed the musical basis for what would come next. By the timeProfessor 4 and this recording Bafana Bafana - the name references South Africa'snational soccer team - were released in the mid-1990s, k waito had fully emerged.Access to instruments and freedom of expression helped its rise in influenceamong youth. According to Mdluli, "Once Mandela was released from prison andpeople felt more free to express themselves and move around town, kwaito wasbecoming the thing." Lyrically, kwaito championed the local township lingo whileadapting "international music," house music, into the local context. "InternationalMusic," as house music and early kwaito were interchangeably known, in manyways reflects the sounds coming from America. But South Africans made it theirown. Today, the largest part of the music industry is occupied by house music andits relatives.
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