Ladysmith Black Mambazo with Paul Simon (photo: The Guardian)
Between roughly 2010 and its closure in 2014, I wrote regularly for the Irish-based periodical - The African Voice newspaper. The following article - written by me - appeared in the September 16-30, 2012 edition of the newspaper.
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In the summer of 1986 I turned 14. One of my memories from that time was listening to Paul Simon for the first time. He had just released the album 'Graceland' to critical acclaim and I managed to get a copy from a friend. The hushing sounds of Ladysmith Black Mambazo, along with contributions from Miriam Makeba, were a joy to hear. Little did I realise that this would herald an interest in African music in me that continues to this day, albeit with newer artists.
Later that year I started listening in earnest to John Peel on the BBC. At that time he was hugely turned on by the Zimbabwean guitar style known as 'Jit Jive', practiced by the likes of The Bhundu Boys and The Four Brothers, among others. My knowledge of music emanates from Peel's programmes and his great love of diverse forms of music. Indeed African LP's were never far from his turntable. Another hugely influential DJ was Andy Kershaw, arguably even more determind to seek out African music than Peel. Kershaw was instrumental in introducing listeners, such as myself, to the latest sounds from around the world.
Throughout 1987 my listening habits were broadened as I was turned on to more and more African musicians. Artists such as Salif Keita and Youssou N'dour were gradually reaching greater prominence. I even managed to get a couple of compilation albums of music recorded in Madagascar on the wonderful Globestyle label. Music fans in Dublin had, by then, a greater choice of record shops with the opening of Virgin and HMV in the city for the first time. These large retailers stocked plenty of music, including those by African artists, previously unavailable to many Dubliners.
My maternal grandmother died in the summer of 1987 and as a treat my uncle brought me over to his pad in London, that December, for a short break. During my stay I was driven to a record fair in Brighton (the venue, the Royal Hotel, had been bombed by the IRA a few years previously while hosting the Conservative Party Conference). It was my first time ever at a record fair and I was excited. One of the LP's I bought in Brighton was by Mahlathini and the Mahotella Queens. The memory will never leave me of the wonderful deep throated sound of Mahlathini's vocals on that slab of vinyl, as I placed it on the turntable for the first time.
In my time I have been lucky to hear lots of African music and am now the proud owner of recordings by artists such as: Franco; Sam Mangwana; Abdul Tee-Jay's Rokoto; Oliver Mtukudzi; Thomas Mapfumo; SE Rogie; Robson Banda and the New Black Eagles; Fela Anikulapo Kuti; Femi Kuti and Seun Kuti. When the weather's sunny I always play some of these recordings and it always adds to the good atmosphere.
In terms of live music, a wealth of African bands and musicians have come here to play over the years. The Bhundu Boys, in their heyday, came here although, sadly, I never got the chance to hear their shimmering guitar sounds live. I have, though, been fortunate to have been at gigs by Tinariwen; Amadou & Mariam, Boubacar Traore (the latter played a sell-out concert in Dublin earlier this year); Thomas Mapfumo; Oliver Mtukudzi; and the Lubumbashi Stars. One of the most memorable concerts I ever attended was when Kanda Bongo Man came to Dublin's Ambassador Theatre in May 2008. It was a night packed with rhythm. As someone once said - if you can't dance to Kanda Bongo Man you may need hospital treatment.
