Innovation Revives Sebatta
Sep 05, 2002
Until recently, Fred Sebatta had not had a massive hit in the shape of Dolly W’omwana, Nalwewuba.’
By Vision Reporter
Until recently, Fred Sebatta had not had a massive hit in the shape of Dolly W’omwana, Nalwewuba.’ Abafumbo Mpola Mpola and Sanyu lya Malembo, the last a re-recorded version of his old hits. They were collectors’ item for his die-hard fans. But other than that, they literally failed to whip up enough enthusiasm from the public. Why? Because of one very simple reason. He was recycling the same production formula he employed on his earlier works, which in the end made the two albums sound rather dull and boring.
“What new will Sebatta offer us now? He is good as finished,†critics said, but he did not despair. He spent some time creating something new and with more substance.
The result: an amazing album titled Gologosa wrapped in a variety of beats and a mathematically oriented compositional style. It is hot and is taking him all over the country and rolling in millions. In the last two weeks he staged sell-out concerts at the National Theatre. His fans eagerly forked out a cool sh10,000 to enter. Gologosa has indeed been a well thought-over work by Sebatta. Thanks to an array of pedigree production talents that have helped him pay good attention to the latest music trends.
The secret of its success lies in the cross-fertilisation of rumba, reggae, R&B and dance-hall. Some mighty fine keyboard, saxophone and clean guitar licks also embellish the hip sound.
But on the other hand, while that is really cool and totally works, it is the songs that stand strongly, proudly one after the other. The material also features mercurial and dynamic shifts that blend melody and lyrical punch echoing the ringing clarity of Sebatta’s melodic voice.
However, since Kadongo kamu music revolves in only three major keys, any one with a musical ear will note that there is admittedly a couple of moments where Sebatta tends to slip into tonal repetitions although, overall, there are certainly more than enough reasons to be cheerful.
Ends
Until recently, Fred Sebatta had not had a massive hit in the shape of Dolly W’omwana, Nalwewuba.’ Abafumbo Mpola Mpola and Sanyu lya Malembo, the last a re-recorded version of his old hits. They were collectors’ item for his die-hard fans. But other than that, they literally failed to whip up enough enthusiasm from the public. Why? Because of one very simple reason. He was recycling the same production formula he employed on his earlier works, which in the end made the two albums sound rather dull and boring.
“What new will Sebatta offer us now? He is good as finished,†critics said, but he did not despair. He spent some time creating something new and with more substance.
The result: an amazing album titled Gologosa wrapped in a variety of beats and a mathematically oriented compositional style. It is hot and is taking him all over the country and rolling in millions. In the last two weeks he staged sell-out concerts at the National Theatre. His fans eagerly forked out a cool sh10,000 to enter. Gologosa has indeed been a well thought-over work by Sebatta. Thanks to an array of pedigree production talents that have helped him pay good attention to the latest music trends.
The secret of its success lies in the cross-fertilisation of rumba, reggae, R&B and dance-hall. Some mighty fine keyboard, saxophone and clean guitar licks also embellish the hip sound.
But on the other hand, while that is really cool and totally works, it is the songs that stand strongly, proudly one after the other. The material also features mercurial and dynamic shifts that blend melody and lyrical punch echoing the ringing clarity of Sebatta’s melodic voice.
However, since Kadongo kamu music revolves in only three major keys, any one with a musical ear will note that there is admittedly a couple of moments where Sebatta tends to slip into tonal repetitions although, overall, there are certainly more than enough reasons to be cheerful.
Ends