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Professor Rhythm Afrobeat 2 Items

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Professor Rhythm - Bafana Bafana
Professor Rhythm
Bafana Bafana
LP | 2017 | EU | Original (Awesome Tapes From Africa)
18,99 €*
Release:2017 / EU – Original
Genre:Organic Grooves
First time on vinyl.
Key producer of early South African house music and kwaito Professor Rhythm is
the production moniker of South African music man Thami Mdluli. Throughout the
1980's, Mdluli was member of chart-topping groups Taboo and CJB, playing
bubblegum pop to stadiums. Mdluli became an in-demand producer for influential
artists (like Sox and Sensations, among many others) and in-house producer for
important record companies like Eric Frisch and Tusk. During the early '80s, Mdluli
projects usually featured an instrumental dance track. These hot instrumentals
became rather popular. Fans demanded to hear more of these backing tracks
without vocals, he says, so Mdluli began to make solo instrumental albums in 1985
as Professor Rhythm. He got the name before the recordings began, from fans, and
positive momentum from audiences and other musicians drove him to invest
himself in a full-on solo project. It was the era just before the end of apartheid and
house music hadn't taken over yet. There wasn't instrumental electronic music yet
in South Afric a. As the '80s came to a close, that was about to change. Professor
Rhythm productions mirror the evolution of dance music in South Africa. They
grew out of the bubblegum mold - which itself stems from band's channeling
influences like Kool & the Gang and the Commodores - into something based on
music for the club. His early instrumental recordings First Time Around and
Professor 3 mostly distilled R&B, mbaqanga and bubblegum grooves into vocal-less
pieces for the dance floor. Musically, these were a success and commercially the
albums all went gold. There were countless bubblegum albums flooding the
marketplace, with nearly disposable vocalists backed by mostly similar-sounding
rhythm tracks. Most of the lyrical content was light and apolitical. But the
keyboards used formed the musical basis for what would come next. By the time
Professor 4 and this recording Bafana Bafana - the name references South Africa's
national soccer team - were released in the mid-1990s, k waito had fully emerged.
Access to instruments and freedom of expression helped its rise in influence
among youth. According to Mdluli, "Once Mandela was released from prison and
people felt more free to express themselves and move around town, kwaito was
becoming the thing." Lyrically, kwaito championed the local township lingo while
adapting "international music," house music, into the local context. "International
Music," as house music and early kwaito were interchangeably known, in many
ways reflects the sounds coming from America. But South Africans made it their
own. Today, the largest part of the music industry is occupied by house music and
its relatives.
Professor Rhythm - Professor 3
Professor Rhythm
Professor 3
LP | 1981 | EU | Reissue (Awesome Tapes From Africa)
18,99 €*
Release:1981 / EU – Reissue
Genre:Organic Grooves
“Professor 3”, das 1991er Album von Professor Rhythm, ist ein
lebendiges Abbild des städtischen Südafrika zur Zeit des Endes der
Apartheid. Das Projekt von Thami Mdluli sorgte dafür, dass Jung
und Alt zu einem Sound tanzten, dessen Ziel es war, die Schwarzen
wieder mit Südafrika zu vereinen. „Unsere Musik gab den
Hoffnungslosen Hoffnung“, erinnert er sich. Das dritte
Instrumentalalbum (bis auf einige Background Vocals) hält den
Moment fest, in dem der dominante Mbaqanga Sound und der
amerkanische Bubblegum-R&B, die bis dato in Johannesburg und
anderen urbanen Zentren produziert wurden Platz für einen von
House und Hip Hop inspirierten Kwaito machten. Der Pop der
achtziger Jahre und alles, was dazu gehörte – die Synthies und
Drumcomputer und die Texte – traten zurück für eine neue
melodische Betonung und langsamere Geschwindigkeiten, die sich
auf einem komplett unterschiedlichen Rhythmus aufbauten. Der
quietschbunte Bubblegum Sound mit seinen doppelten Breakdowns
verschwand allmählich und die Sounds begannen denen des
zeitgenössischen schwarzen Amerikas zu ähneln – der Hip Hop
wurde langsamer, die Basslinien und Melodien wurden launischer
und düsterer. Zur gleichen Zeit war House im amerikanischen
Mainstream angekommen und von dieser Popularität wurde auch in
Afrika Notiz genommen. Diese beiden Einflüsse schlugen sich in der
wachsenden Houseszene in Johannesburg und Pretoria nieder.
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