What gives Afro Pop that positive buoyant feel?

Your post evoked some, well rather vague notions I guess here, but I'd be interested to hear a few examples of style that goes there for you. (Reggae came to mind but I could see this applying in any number of ways. Could you link a few?
A funny side'- heard told you can tell when the pop' dudes are doing the blues- They always do the turn around.

It's funny, I am a musician in South Africa and it never occurred to me to analyse the stuff - same as a Spanish guitarist probably doesn't think much about how he does his thing! I don't play Afro Pop all the time, but I have done a few bass gigs that required it. A good friend of mine (Grant Tregellus) went from hardrock to a major AfroPop gig as guitarist for female star Lira - he had to go into the townships and rural settlements to really get to the bottom of the style.

It is really a feel thing in the rhythm instruments more than anything else - check out Lira, Johnny Clegg, Vusi Mahlasela etc. Hihats and snare phrasing is super important. Playing is crisp and energetic. The drums are generally pushing ahead of the beat, not like blues and reggae at all. Bass plays higher up in the register and mostly with a pick. Those are just some pointers - there's alot more obviously.

Of course, Dave Matthews used a lot of those rhythms as well as township grooves in his early work, being South African he had something new to offer the rock scene and it worked!
African people are actually mostly very positive and spiritual, and that's what comes through in the music.

There's also some insanely difficult cross-rhythm genres that are almost instinctive. Very hard to suss if you didn't grow up with it - check out "Tribal Beats" and "World Beats" as an example. I mixed it (besides the point really except that I got horribly lost in editing a few times!) and it's on ARC Music (UK) I think.

The beginning of "africa " by toto is very cool to look at ( several bars of the base rythums )

Like  Ludwig said , If you use the drum transients to line it up in the grid at around 93BPM you can clearly see the "in front" of the pocket effect .

There is a dejembe that is in the Usual "backbeat " accent spot of beats 2 and 4  except that it's in front of those and very early . ( it's a pitched sound , Probably a djembe ; I'm no expert on the instruments )  Lots of metalic sounds .  Some are like the attack of a cow bell without the sustain portion ...

Lots of synchopation .. Really good .. Any suggestions for popular applications ( OR Liberal borrowing  like toto  did )    Ludwig ??? Other bands to listen for besides DM?

LJB






check out Johnny Clegg

+1, he's excellent. I wore out my 12'' vinyl copy of 'Scatterlings of Africa'

And here's a quiz while we're plugging Africa :O)
Q: Which of these geniuses are from South Africa:

1) Eddy Kramer
2) Mutt Lange
3) Trevor Rabin
4) Clive Calder (Zomba Music)
5) Paul DeVillers (Mr Mister ) etc.
6) Velcro (you can thank us later)
7) the Push-button telephone  (again, you can thank us later)

A: All of them.  :O) 

FYI....according to Wikipedia, Velcro was invented by a Swiss named George de Mestral.
 
A great invention!

Ludwig,



Thanks very much for your insights.


I was wondering if anyone had anything to add as far as melodic or harmonic traits .

Mike ,
I would wonder first if you are writing your melodies first . In that case you might want to look at the cadence's and the related intrevalic relationships   ( Or the overall contours), and , I wonder if they even use the even tempered scales or something different ?? 
  I wonder if harmonically , the V-I is so prevalent as it is in western music ?


I'm definatley going to check out those artist mentioned and do some listening .


Thanks  all .
 

Khat?