« Kwanele – It’s Enough » by Thandiswa – Zabalaza Album

Par défaut


Je n’ai pas pu résister à l’irrépressible envie de publier ce 3ème billet aujourd’hui (j’ai la banane !!!) en hommage à ceux qui vont manifester leur soutien au peuple syrien, entre autres et en particulier, mes pensées vont à Madagascar (hé oui, encore et toujours).

Tweets connexes (si si, ils sont bien reliés à mon billet – j’ai la banane je vous dis !!!)

@ALiCe__M <3<3<3 P2U4URAQTP Peace To You For You Are A Cutie Pie Hé les gars allez sur ce site netlingo.com/acronyms.php #Mafalda #FLE #CSDD

@RamyRaoof today #Feb11 Global Day of Action – Solidarity with Protesters in the Middle East and North Africa goo.gl/yHkTt

@LucBentz Petite erreur : métro Temple (rue de Turbigo) #HalteAuxMassacresEnSyrie

@LucBentz Pour la manif Syrie de cet après-midi (métro Turbigo 14h), couvrez-vous bien: il fera froid. #HalteAuxMassacresEnSyrie

@happiness_virus: World Happiness Day – download your own Happiness Action Pack here – http://goo.gl/fDeJT#HappinessVirusWorthSpreading


Ajoutée par Highbutterfly le 19 août 2008
kwanele taken from the renowned album ‘Zabalaza’

Visit NME Video for more exclusive video content

ZabalazaThandiswa 2004 in Daily OM
February 10, 2012
South African solo artist (formerly of the Kwaito group Bongo Maffin) Thandiswa Mazwai fuses the sweltering passion of her Johannesburg Afro-pop music style with urban R&B–including gospel– for her debut solo album, the acclaimed double-platinum seller Zabalaza. That title translates to « struggles » and having grown up in Soweto during the era of upheaval, it’s small wonder her nation’s political struggles for unity finds perfect mirroring in the cries for liberation in her powerful lyrics. In her ability to move freely from funky reggae to Afro-pop grooves to Baptist gospel to honey-fried soul all without ever seeming eclectic or uncertain, Thandiswa’s beautiful, clear voice, and her innate majesty and strength transcend all such labels.
In
this regard, she’s reminiscent of Aretha Franklin in the 1960s. She, too, climbed solid urban soul roots to blossom into an artist that transcended all barriers and united all listeners at a time when racial equality and harmony was being won slowly in the streets through non-violent (and violent) protest, riot, and revolt. Like Franklin, Thandiswa has the voice that can bring down any wall, firing up the gospel on « Revelation » like she grew up at a Baptist church in Georgia, then retiring to the VIP lounge for some Sade-style neo-soul (« Transkei Moon »). Thandiswa’s lyrics veer effortlessly from her native Xhosa into English: « Come and see what I see / every day, » she sings on the title track, for those who « gave up their lives / for this. »
After
the pulse-quickening first handful of songs, the tracks on Zabalaza cool down into ‘quiet storm’-style nu-soul, as if signaling the end of a spate of furious dancing and time for romance in the corner booth. For the triumphant closer « Ndiyahamba, » the sense of African pride and courage to face all difficulty in the name of spiritual unity and liberation comes sailing back in on the wings of a violin and fluttering flutes and the vocals fan out into a massive chorus at once both Soweto-sanctified and posh cool as an air conditioned night in downtown Johannesburg. As Bahauddin once said, « A candle has been lit inside me, for which the sun is a moth. » That sense of spiritual love creating a deep rooted sense of immovable gravity perfectly describes Thandiswa’s voice; Zabalaza then, makes for a damn good lighter.

Les commentaires sont fermés.