There is a great phrase that
Zambians used soon after they achieved Independence in 1964 to describe the
economic pillage of their minerally rich country by white
(Rhodesian/British/American) business interests: bamba zonke or ‘grab
everything’.
This experience and
perception that their wealth was vulnerable to wholesale, internationally-organised
looting, led the long-serving President of Zambia, Kenneth Kuanda to erect thick protective walls around the country’s
economy and culture. Relations were cool
with the West and warm towards China, Yugoslavia and other socialist states in
which Kuanda found inspiration for
transforming colonial Northern Rhodesia into independent Zambia.
One of the consequences of
this approach was that popular music in Zambia developed more hermetically than
in other African countries. In the years right after Independence Congolese rumba was the most widely heard and
enjoyed popular music in the cities and towns.
Even though the Zambian Broadcasting Service established the country’s
first ‘pop’ band, Lusaka Radio Band
(now Big Gold Six Band) to promote a
distinct Zambian music, rumba ruled
the airwaves, and in hotels and bars.
In the tough, violent copper
mining towns of northern Zambia the first truly local popular music scene started
to develop in the early 1970s. Guitar
strumming folk singers wandered the mining settlements singing songs about sex
and a new modern way of life. Over time the singers added electric instrument
and drums and suddenly people were calling it Zam-rock.
 |
| President Kenneth Kuanda |
President Kuanda, a man of many talents including ballroom dancing and playing the
guitar, introduced a law in the late 70’s requiring 95% of music played on
radio to be Zambian. Overnight, a rock and roll fever gripped the country.
Everyone with any talent began putting groups together. Heaven knows, the radio
was looking for something to fill the rumba
vacuum. The more established musicians
like Paul Ngozi (Musi-o-Tunya) took the rock-inspired
electric guitar leads of Zam-rock and attached them to essential rumba beats. Instead of English, lyrics
were now in local languages. Within a
few years a whole new form of urban dance music had emerged, kalindula.
“Brasher than soukous,
and funkier, kalindula was
characterized by rumba style guitars
and a solid, rapid-fire bass line. The drums set off at a frantic pace with the
guitarists seemingly struggling to find the rhythm. Then, around 30 seconds
into the song, a cooler groove emerges to provide dance floor satisfaction.”
(Rough Guide to World Music)
Among the crop of groups
that pioneered kalindula was the Oliya Band the subject of tonight’s post. “The Oliya Band
started playing music in Luanshya, in Mikomfwa township at Kosapa Tavern in
1980. Their originality in playing manchancha
(Kaonde traditional dance music) and kalindula
explains their evergreen status in music circles. Oliya Band had a passion for the promotion of the Kaonde, the Lamba
and the Bemba traditional norms and culture through music.
“They first burst onto the scene with the hit Clementina, followed by their debut album, Pantanda Pashupa (meaning, Things are very difficult on Earth). Chenda Mundeke is one hit that you
cannot resist to dance to. The track Chikokoshi
would definitely see you seriously going down, while Mwe Balume would be the keynote for women who want their husbands
to play their role of providing for their families.
“Their second album [was] called Sodom
and Gommora, and gave yet another taste of what Oliya Band was all about. While some may have considered them
underdogs because of their ages compared to other bands, they more than ever
proved their capability especially with hits like Banjoni Balabila, Mulenga
and the title track itself, Sodom and
Gommora.
“Members of the band were: Jackson
Tiza Mwanza, Fred Chisenga, Davie Miselo Mbulo, Davies Mulenga Chisupa, Derick
Malupande, Moses Lungu, Jack Mbewe and Gilbert
Mali.” (Liner Notes)
For my money it is indeed Sodom and Gommora that really grooves. I
only wish I understood what they were saying about those doomed cities! But
every track here is fresh and interesting. This is definitely not soukous but you can hear those roots. The guitars are
very prominent and played exceptionally well. The singing is light and
melodic.
Amazing what can develop
behind the “Keep Out” signs.
Track Listing:
01 Clementina
02 Chenda Mundeke
03 Chikokoshi
04 Mwe Balume
05 Sodom &
Gommorah
06 Pantanda Pashupa
07 Life Yamana
08 Ichibanda
09 Mulenga
10 Ba Njoni Balabila
