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I
believe that this is the best work I have ever done. I say
this of the quality of songs, the issues that I am addressing,
the musicians involved, and the conceptual maturity in the
simplicity of the production. All have converged with the
traversing influences and experiences that have flowed through
and shaped my life (as a white Afro Saxon), and come together
in “Africa’s Not For Sissies” in a way that
I think is very special. Call it synchronicity; call it intuition;
call it Irish blarney; but something that I cannot explain
conspired to bring a certain “magik” to this creation
that has registered in all who have heard it. Something
happened that I had no control of. For your benefit, what
follows is a brief synopsis of the work and the issues I am
writing about.
THE
WORK
Apart from the obvious budgetary constraints that impinge
on everything I have ever done, certain pre-production ideas
that rose out of discussions with Dan Chiorboli resulted in
the decision to approach the recording process in the manner
we did. These included that the songs must be of paramount
importance; my voice must clearly articulate what is being
said; natural sounds should be used. In this regard I feel
that ANFS captures these ideals. Discounting the use of electric
bass, acoustic instruments were used throughout the album. My
regular Amakool rhythm section was augmented on each track
by certain guests who were chosen specifically for the “colour”
of sound their instrument makes. This has brought a very classy,
interesting spin to the mix. From the hosepipe flute of Pedro
Espi Sanchis, to the accordion work of Greg Leisegang; the
album is awash with interesting sounds that weave in and out
of the songs. There are no guitar “hero” type
histrionics from me. Where solos were required, they were
generally given over to my guests. Once again I stress that
the songs were there to shine. Minimalism was the point of
departure in terms of what was allowed in. If it didn’t
“happen”, it didn’t stay.
THE ISSUES
I have always written and spoken out (in my own humble way)
about whatever injustice I witness. This is especially true
of ANFS. I am concerned about the violence in South Africa
and the exodus of people out of here (trks 1, 8 and 10). I
am writing about global expansionism and the effect this is
having on an Africa that is always (or so it ironically seems)
marginalized in the process (tracks 2 and 5). Issues
of identity and who the folk I am in this crazy world are
addressed in tracks 3, 4, 6, 7 and 9. In short, I am concerned
and insightful enough to know that through the power I have
as an artist and poet, I can make a positive contribution
to speaking out (albeit how small) and giving people another
view to think about. In some of the material, the listener
is uncomfortably invited to engage with some sensitive issues. My
strength (and something I learnt in the folk clubs) is to
make people face these issues comforted by the familiarity
of humor. The African musical stylistics that permeates the
entire work is the celebration of my birthright. While
most of my peers in this country gaze longingly up the asshole
of euro-centric popular music culture, I fully embrace living
in Africa, and see no problem in eclectically fusing whatever
influences I have into the postmodern pastiche that is ANFS. This
thread; Africa and the issues she faces; govern the entire
work.
SYD KITCHEN
© 2001
The "Africa's Not for Sissies -
Packed Up and Ready to Go" Suitcase Ensemble
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