RED SAN ‘SEASONS Of THE SAN’ (2003 True Blaq records) Hits from the east

Redsan's 'Seasons of the sun' CD cover

Mohammed Swabri is not a memorable name. Red San, his career name is the one a ‘club hold’ name in East Africa because of this CD. ‘Season’s of the San’ is a collection of songs from the start of his career to 2002 and so allow a microscopic audio analysis of Red San.His current release, the chicken video (not on this CD) is ascending the charts of East Africa and was nominated under the most promising artist category for the 2003 Kora awards. The CD ‘Season Of The San’ is clearly a dancehall reggae meets hip-hop safari. It obeys the unwritten rules of hip-hop and dancehall reggae: stick to the hooks, the beat and bass, the flow, the narrative and the sample. Formerly a member of the group One 2 Moja and the tripartite East African bashment crew with Ugandans Bebe Cool, Chameleon and Red San, this CD offers insight into the illustrious career of San and exhibits announces mastery of professionalism and the art form.

The opening track ‘bumper’ is a vocal introduction along with a stable of producers he has regularly worked with: the influential Ogopa deejays. It features kwaito and hip-hop beats with a deep bass line as its foundation ready for the club. There is the dominant applause effect that classifies this track as a club classic. Dynamic percussion informs this song. His trademark bi-lingual style is evident (English and Swahili). He addresses a girl and manifests his exceptionality ‘I bet you never seen the man you need’ and finally pulls her to ‘bump bump’. The song is three minutes long. Red San’s magic is in five areas: his narratives, beats and bass, hooks, chants and delivery.

On ‘Shalyne’ Red San continues on of his two dominant themes love and party. Here, macho power is set as he states that ‘she wasn’t girl enough for me’. The sample is audible Toni Braxton’s similar arguments and melody prevails on the hook. The intro is percussive with strings (reminds me of dark child funk) lacing ensuing patois narratives. His vocalization is versatile and he sounds both straight and comic. The song is four minutes long.

Redsan and Amani

‘Doesn’t really matter’ is the typical relationship song where a couple face external adversity and make the commitment to shut them down as well as working hard at it. There is a sung female intro here by Raz .San makes good use of female vocalists perhaps in recognition of his large female audience and also to tackle the relationship aspect well enough (hope you recall Positive K’s I got a man). The male female lyrical dialogue is cool ‘doesn’t really matter what some think of us, I gotta tell you what’s in my heart. Boy the love I get from you is not enough next time lets try a bit harder.’

There is a call and response segment at the end the principal way of appealing to another wise bored audience in any stage performance. Patterned in the dancehall reggae style the beats would even rank with legends like Dave Kelly. Most importantly is the Ogopa presence still at the end. ‘Wanipa raha’ (they give me happiness) is sing along material. The most memorable part is the chant and his holler to his crew (basically the party people). The beat is bouncy dancehall reggae ting where San pays tribute to one area that has made him as an artist the club.

His comic vocalization is reminiscent of T.O.K’s vocal variations which San masters in his own way. The East African Bashment crew rocked Nairobi back in the day. ‘Mikono Juu’ (raise your hands was one of their classics), Bebe cool, Chameleon and Red San have each become stars in their own right. Still with a comic intro of a female asking for some Red San, Bebe Cool and Chameleon, the song generates into a lot of vocal action with serious versification. This is the typical party anthem with a multi-layer of hip-hop beats and electrification (it kind of reminds me of a rock concert).

‘Bageya’ a duet with Chameleon vilifies rumour. In a ruff neck vocal delivery, chameleon laments in luganda (language from Uganda) about many things people talk about property, relationships and one’s life. The hook is outstanding the common sing a long. Red San appears at the end with a few bars in Swahili. The angel (malaika) is a common metaphorical motif in Swahili songs used in reference to loved ones. On ‘Malaika’ Red San propels a pleasant rhyme scheme and on a dancehall reggae beat the male female dialogue proceeds through the narrative. ‘That girl’ contains an instrumental intro with basic percussions and melodic embellishments guiding the narrative where the love theme subsists. Red San shows he is the master of poetic presentation. The call and response format is adequate for a performance and memorisation of the song.

In ‘Hate you so much’ Red San tackles conflict in the relationship as he tries to prove he is not the villain he is made to be. The strings lend it a luscious feel as San plunges straight into his verses. Red San becomes the singer here though the male female dialogue endures. The sample of Kelis’ ‘Get Along With you’ is apparent and appropriate. The remix of malaika by ex-Safari sounds band member Bruce Odhiambo who also produced Cool James’ Sina Makossa makes it more vibrant. Odhiamo has cut his production teeth in Kenya and adds more club flavour to the song. ‘Hakikisho’ (feat Wyre) shows San’s taste in choice of collaborators. Wyre is in my opinion one of Kenya’s best contemporary vocalists ‘Hakikisho’ (up to tomorrow) deals with longevity in love.

The trademark bi-lingual and dancehall reggae approach is on and the vocal marriage of Wyre and Red San is beautiful. Ted Josiah produces on ‘may be’ a dancehall reggae hip-hop fusion from the originator Josiah. Kenya’s premier producer Josiah brings his vast experience on this track as Red San examines the possibilities of a perfect relationship offering all the suggestions to make it work.

The biggest hit from this collection is ‘Julie’ (featuring Tedy) a tale of a girl Red San yearns for. Ogopa deejays production employs a bass line and horns that not only give this song a club appeal but also a radio friendly character. There is the sample of the Tshala Muana classic karibu yangu. This is definitely the versatile side of Red San.

Season of the San benefits greatly from:

1.Well-mixed vocals and beats are transparent enough.
2.Diversity in beats, narratives and collaboration (artists and producers).
3.Perfect rhyming.
4.13 tracks produced and mixed professionally.
5.The samples are properly utilised in terms of arrangement and relate well to the narratives.
6.The artist writes all the songs sometimes with co-writers.

The CD