Punk Voices: Discover The Unsung Heroes At The Fore Of Popular Music
Words by Funmi Olagunju
The 70’s, - psychedelic musings that brought powerful movements to the forefront of popular music then and now. Artists would use several methods to push their message whether it was secret messages in humming, percussive rhythms, lyrics that didn’t mince their meanings and dressing intentionally. All of these efforts or protests would enable us to enjoy the freedom from our youths: to scroll through our iTunes libraries and gather in shopping centres to dance, skate or just hang out. These are the artists, some of you may not have heard of, that remain the unsung heroes that enabled real change. From Nigerian Fuji music, Kenya’s psychedelic rock to the UK’s very own Punk rock, get ready for a groovy ride through the 70’s till 90’s scene, diaspora style.
1, King Wasiu Ayinde – Fuji music (1960’s - 1980’s)
Born in 1957 in Lagos, Nigeria, Wasiu Ayinde was one of many ‘Kings’ that pioneered the Fuji music scene. ‘Fuji’, which means to be sociable or some may say to have a good time originated from the Islamic song which would wake people up early in the morning during Ramadan. As it gained mainstream recognition the genre would bend to add more percussive elements with an upbeat jive including drums and harmonica. Sometimes coined ‘Juju’ music these songs have lyrics centred around respecting elders, being a good person and dealing with lives struggles. Talazo one of Ayinde’s most successful albums would be part of the series popularly titled “Fuji garbage” a term that would group songs by prolific Fuji artists to display their more playful side and would stay true to the origins of Fuji music – to have a good time. Ironically Talazo being the title of Ayinde’s album was a reaction to people gossiping that he was using a fictitious drug “Talazo” to reduce his food consumption hence why he was named “The slim guy”. This would be a refreshing take on masculinity in one of Nigerias definitive music eras.
Of course, there were other artists who contributed to Fuji music including King Sunny Ade (who is of royal heritage) and pushed Fuji music to an international audience. All contributions evolved to what we now know as Afro-beats music today. Many of the Fuji artists came from humble beginnings with their songs about encouragement and seeing the good within the bad. Some may say a frivolous genre with no strong political affirmations but that was precisely the point, through upbeat jovial music the masses were given hope to continue what may be mundane lives. This movement is what associates Nigerians with vigour, tenacity and rich cultural heritage.
2, Black Savage – Psychedelic Kenyan Rock (1970’s)
Everything is “Political” considering the catalogue of many Kenyan artists in the 70’s rock movement just disappeared. This is especially true for Nairobian rock band Black Savage who were the only few artists to be remembered fondly in the minds of Kenyan people. Only recently has a collection of their LP recordings been discovered and made to see the dawn of day. Songs like ‘Sharpeville’ are a bittersweet reminiscence of the Sharpeville Massacre on 21 March 1960. This was noted as the most violent protests against apartheid in South Africa. The Funky bass groove in the song with accompanying short lyrics were gentle reminders of the terrible things that have happened in Africa’s history.
Most of the members are from the Luo tribe in Kenya, well known for their use of intricate guitar picking. This style is pervasive in their music which lends well to their psychedelic sounds which can put anyone in a hypnotic trance. In addition, the members grew up during the education reform that would widen the curriculum available to Kenyans. This would mean that classical music such as Beethoven and Mozart would be taught and would, In turn, deepen their musical scope. Of course, their genre being rock would also lend to some international influence such as soul and R&B. Black Savage’s influence can be heard in artists like Pharrell as well as his initial band N.E.R.D, best known for fusing rock with Hip-hop/Rap and other genres.
3, Poly Styrene and X-ray Spex – Punk Rock (1970’s)
An unusual moniker (Poly Styrene) for the only woman of colour that would lead the punk rock genre into pastures where diversity and inclusion would be celebrated. Where meritocracy would be championed as an endearing quality of the British society, Poly Styrene stood against that in her song ‘Identity’ which the artist’s lyrics lament on the fact that she did not see herself in magazines explaining the lack of representation and beyond. Poly Styrene’s songs at its best could be described as moralistic nursery rhymes. This is positive though, noting that being a member of X-ray Spex was not a way of hiding, rather it provided the right visibility to draw attention to important themes in her life. These themes varied from beauty standards, societal norms and environmental issues (perhaps by accident). Other songs like ‘The day the world turned Day-Glo’ shows her mastery with metaphorical concepts as well as ‘Germ free adolescents’ with her signature screeching high notes, accentuating her wit and sense of humour. Poly Styrene’s sound was equal angst and reformed juvenile student which was highlighted by her conservative style of dress which is the opposite direction of most women, especially one at the forefront in the music industry. Perhaps there is no accident and everything all encompassing the image and sound of Poly Styrene and X-ray Spex was a rebellious message which is ultimately what Punk music is about. Polys Styrene’s influence can be seen in artists like Beth Ditto and FKA Twigs.
4, Thomas Mapfumo – Chimurenga Music (1960’s - 1990’s and till present day)
Some may call him the “Man”. This is appropriate since he’s one of the well known musicians to literally save lives with his music. Some may also call It art as his songs would contain lyrics with secret messages to tell young men to join the war and to fight for Zimbabwe’s independence from British Rule in the 1970s. Luck would bring Zimbabwe’s independence a decade later in 1980 but the exit of the British would leave the Zimbabwean government in disagreements leading to a civil war. This would leave Zimbabwe at a disadvantage almost in a regressive state. Mapfumo’s message in songs like Chimurenga would depict the revolutionary struggle that plagues many African countries fighting for independence. His songs were highly political especially when it regarded social values, agriculture, land ownership as well as challenging political figures. His activism would become quite dangerous leading to his exile to America in the 90s. Mapfuso’s songs would include the use of the Mbire, a sacred and spiritual piano instrument that would create the beautiful riffs in many of his songs. Chimurenga music although quite political with traditional ties to Zimbabwe would inspire modern artists like Shingai to rediscover their personal identity within the genre that remains pure and untainted by crossover-appeal.
My Personal music discoveries – Present Day
Growing up in the 90’s I always had music as a background to various moments in my life. Almost like a movie’s soundtrack I can confidently pinpoint a time by recalling the music I listened to. I fondly remember listening to my father’s 80s/90s playlists mostly, which were as you would imagine, amazing. I was also introduced to African genres like ‘Fuji’ on the car journey to school and be told of their great importance in celebrating black culture and history. I would be ignorant to these ideas not by choice but because I wasn’t mature enough to understand their various contexts. What cannot be disputed is how ephemeral these songs were, that I felt their core messages subconsciously. Now as an adult looking back, these “background” songs I refer to are actually at the forefront of what I see as popular music today. I can only be grateful for the Unsung heroes who indirectly helped shape my eclectic music tastes and created an opportunity for me to see and experience the world thoughtfully.
Words by Funmi Olagunju
