What Made Mowzey Radio so Special in Uganda’s Music Industry
Until 2007, Uganda’s music industry was stuck in the loop; it had gone fusty and bland, with the outmoded 1990s revolutionaries [Bebe Cool, Jose Chameleon and Bobi Wine] controlling the grip. By the time Radio and Weasel finally showed up, it was long overdue...
 |
| RIP: Mowzey Radio |
It all started with the
famous Nakudata, a collaboration with Omulangira Ssuna [who also was the producer of the record]. This track was like the harbinger of all the good things that would
soon happen in Uganda’s music industry.
Radio and Weasel were like a gulp of fresh air that everyone longed for. Indeed, they were just about to revolutionize the entire music circle in Uganda.
Radio and Weasel were like a gulp of fresh air that everyone longed for. Indeed, they were just about to revolutionize the entire music circle in Uganda.
It was not long before the
traditionally known heavyweights began getting eclipsed, so to speak. For the
first time, in about ten (10) years, new sounds were coming through -- [notwithstanding Silver Kyagulanyi’s fleeting phase or
the long-time efforts of Afrigo Band and Eagles Production].
In such unprecedented twists,
people were no more talking of whether Jose Chameleon had premiered a new single
or Bobi Wine was expanding his Fire Base Entertainment Crew and
Bebe Cool celebrating a nod in the Channel O Awards.
Every new musician rather began to
parrot the style of Mowzey Radio; music groups
[fashioned in the likeness of the Goodlyfe] were formed, including Born
Ugandans, Eighton & Rain etc. At this point, Uganda’s music industry
was clearly rediscovering itself – it was revitalized and it was because of
these [two] new kids on the block.
The Goodlyfe constantly
challenged the status quo until, inadvertently, they became every musician’s
yardstick. Older musicians began to likewise evolve and re-invent themselves to
hit the bar. A redefining of music began about this time – a new phenomenon of
music writers began – it became a revolution in itself.
An appreciation of vocalists
began to intensify vis-à-vis dancehall bards. Music literally became a
movement; music management groups gained more relevance. In this renaissance, an array of music companies
were sprouting, including Goodlyfe, Big Talent, Good
Music, Locomotive, Swangz Avenue etc.
Every musician wanted to
record a song with Radio and when it finally happened –
it was sure to be a major banger, both locally and internationally.
But without taking anything
away from Weasel’s extraordinary talent, however, the Goodlyfe managed to do all it did only because they had the X Factor – Mowzey Radio.
Radio’s aptitude went beyond the fact that he could brilliantly blend
well with his colleague’s hoarse and dancehall tone...
Despite his lean and slim frame, he was exceptionally gifted. He was very imaginative, resourceful and meticulous. As a vocalist, he was unparalleled.
Despite his lean and slim frame, he was exceptionally gifted. He was very imaginative, resourceful and meticulous. As a vocalist, he was unparalleled.
His voice was light and lively
with an agile, rhythmic skillfulness that allowed for very complex vocal runs… he had such a knack that he would even dare to mimic auto-tune, as in Lwaki
Onumya.
He so adeptly managed to
employ his signature adlibs to totally upgrade the sounding of any song – as in
Diamond Oscar’s Take It Easy featuring Vampino – his exclamations were
controlled and achieved via extraordinary technique that no one else had
attempted in Uganda.
The voice also had the
strength and stamina to hold notes for lengths of time, without wavering in
pitch, and the ability to emote the meaning of the lyrics exceptionally. In
songs like Nkwagala, Radio explored his low range and it was beautifully grounded;
he, evidently, was as comfortable with the lower notes as when he sang in the
modal range, in which he usually sang.
As the voice passed into the midrange, it began to lighten and brighten significantly; it had an elasticity and flexibility that allowed for it to stretch, without much impact on the tone. Ddembessa on which he worked with Ganda Boys [formerly Da Twins] superbly cements this case. He could, with ease, either sound bright, light and smooth, coarse or slightly heavy.
As the voice passed into the midrange, it began to lighten and brighten significantly; it had an elasticity and flexibility that allowed for it to stretch, without much impact on the tone. Ddembessa on which he worked with Ganda Boys [formerly Da Twins] superbly cements this case. He could, with ease, either sound bright, light and smooth, coarse or slightly heavy.
The falsetto was solid, warm
and more resonate than many other male singers.
But all this was short-lived; it hangs in abyss if the surviving member of the Goodlyfe,
Douglas Mayanja [Weasel] will be able to sustain, let
alone effectively farther the milestones of the Goodlyfe – as we knew it.
The blank that Moses Ssekibogo [aka Mowzey Radio] left is really a big blank – unlikely anyone can make up for it.
The blank that Moses Ssekibogo [aka Mowzey Radio] left is really a big blank – unlikely anyone can make up for it.
Comments
Post a Comment