V.A.: "Angola Soundtrack"
Analogue Africa V.A. : Angola Soundtrack (AN,1965-1978,comp.2010)****'
There has not been too many reissues of Angolan music. Apparently there seems to have been one period in particular which had its unique sound. The shortlived Buddha series on Angola showed something of them, something the Analog Africa label wanted to dig out further with some adventurous research in the country. This way this compilation not only is a great compilation again with a perfect choice, the label continues to make from it an adventure story of some historical importance. Two record companies have been responsible for its publication at the time, Fadiang (Fábrica de Discos Angolano) and Valentim de Carvalho. Neigbour Congo had been responsible for the import of Cuban music and the use of electric guitars, Angolan musicians went far deeper into the Cuban rhythms itself, especially merengue and new combinations of styles. Other rhythms include the to me unknown styles of Rebita, Kazukuta and Semba, some of which were incorporations of traditional rhythms from the Luanda’s islands. The songs and instrumentals and musical themes are most often led by electric guitar, accompanied by a second more rhythm-like guitar. This guitar led element is difficult to describe but I can imagine it would give these players some status and recognition, the rest of the band are able to play their equal part. Other rhythms are provided by polyphonically layered elements like hand shaking rhythms and bottle rhythms, conga-like rhythms and bass. Rarely we hear a brass element. A great surprise is the last song by Africa Show which is a more psychedelic song. It is a in a relaxed rhythm where an organ leads the track mostly, followed by the guitars, vocals and rhythms. The tracks are professionally recorded and so are the players. Another winner from this great label.
Analogue Africa V.A. : Angola Soundtrack 2 (AN,1969-1978,comp.2013)****
-Hypnosis, Distortions & Other Sonic Innovations 1969 - 1978 -
This is the second album of the label, which chose the best out of the 800 or so releases that were printed in Angola on the three record companies around that time. I haven’t seen the booklet yet and can’t tell too much about the country. I only know that it was lately on the news because the current president became so tired of the Christian refugees and stories of slaughters of Christians in the unstable countries of Egypt and Syria, besides knowing of the regular discriminations of non-Muslims in Tunisia and Algeria, that he forbid “this dangerous sect” Islam in his own country. In the seventies, Angola had faced other problems. They had a long strive for independence because they remained a Portuguese colony for too long. The music that was printed in those days I read is supposed to have some Portuguese influence too, but I notice here mostly a specific mixture of mostly African and Cuban rhythms.
If I was supposed to resume and describe the music style of the tracks that are presented here, I should say that I do recognise a couple of tendencies that work out most of the tracks, so that I can give a more accurate description on what to expect. Nearly every track consists of bass, a sort of African congas, and a kind of ribbed and rubbing shakers (somewhat like the cabasa ?), occasionally also something like a tambourine, but also more often a rhythm guitar and one electric lead guitar (only on the last track you can hear some acoustic guitar to it). Some tracks are instrumental and show us the Afro-Cuban combinations of danceable rhythms. Of course, many tracks do have an African lead singer, with sometimes “ahaa”-backing singers responding. It is almost always this sort of foundation, with only more Cuban/Caribbean elements one time or otherwise a more African domination of elements and rhythms and everything in between. I could pick out and describe some specific tracks, but in fact, the area of this generalisation, this common style mix is the real inspiration. It still is a good album to pick out some tracks to dance to as well.
More background on what happened luckily is provided by the label:
“When Portuguese repressive measures prevented the small Turmas, street musician groups, from being able to perform in Carnaval celebrations in 1961, a Portuguese civil servant, entrepreneur and Angolan music fan named Luis Montês was already in a position to capitalise on Luanda’s need for a live music scene. His self-designed “Kutonocas”, Sunday afternoon live music festivals, delighted a Luandan population hungry for a communication between the city and musseques (townships). It also forced groups to adapt to a different style of playing that would accommodate large stages and broader audiences. They equipped themselves with electric guitars, and fed on the musical influences from Cape Verde, Congo and the Dominican Republic, while staying patriotically true to their own musical legacy and unique rhythms.
The intimacy of those participating in this musical revolution meant they playfully and professionally wanted to trump each other’s style; communication between the groups was frequent as everyone studied each other’s records and concerts and players were under a lot of pressure to outdo each other due to the limited recording and performing opportunities. Development of skill and ingenuity was a must, as well as addressing the highly politicised climate. The optimism of Independence can be heard in these recordings; a common goal between the audience and musicians.”
