Lucky Dube Songs That Will Inspire You: The Top 10 Reggae Anthems
On the release of his fifth album, Dave Segal (who became Dube's sound engineer) encouraged him to drop the "Supersoul" element of the name. All subsequent albums were recorded as Lucky Dube. Around this time, the singer noticed that fans were responding positively to some reggae songs he played during concerts. Drawing inspiration from Jimmy Cliff[10] and Peter Tosh,[7] he felt the socio-political messages associated with Jamaican reggae were relevant to a South African audience in an institutionally racist society.[10]
On 21 October 2008, Rykodisc released a compilation album entitled Retrospective, which featured many of Dube's most influential songs as well as tracks previously not released in the United States. The album celebrated Dube's music and honored the contributions he made to South Africa.[20]The Roots Reggae Library has taken steps to store digital versions of the artist's mbaqange albums made in the 1980s. Five of the six albums have been retrieved; Ngikwethembe Na has yet to be found.[21][22]As one of the first artists to bring African reggae to the mainstream, Dube bridged cultural gaps within the African diaspora. What his music did was "[present] a praxis of cross-culturality and visionary possibility".[23] Dube gave Africa a voice and put its culture on the global stage by joining the global reggae community. Through taking Jamaican music back to its roots, he recontextualized the oppression and political struggles that reggae seeps itself in, bringing the basis of the diaspora back in conversation with the diaspora at large to allow for a more pan-African form of cultural expression. Dube's roots reggae brought African people to the table in terms of conversation about the black diaspora by mimicking Caribbean artists' assertions of African authenticity.[23]
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QUIST-ARCTON: Well, he was a very young man, of course, during the height of apartheid. But his messages were always very strong and very much to ordinary people that there should be unity, together as one. Titles even of his songs, "Slave," don't be a slave, "Prisoner," don't be a prisoner. And he very much used the lyrics, and he felt that reggae was the beat that sent the message even better to say no to apartheid.
At 6 months the boy, the very lucky-to-be-alive boy, was finally given a name, Lucky Phillip Dube. He stayed on with his grandmother, perhaps the single most influential person in his life. She would often go days without food, making sure Lucky and his siblings ate. When things became desperate, they would sneak and collect sheep droppings from a neighboring farm to boil up into some meager sustenance. At 5, Lucky had already learned the lesson of responsibility. He began working as a gardener for white families so that his own family would have a little food. He quickly saw that his employers treated their dogs better than him. When he was a little older he was terrorized by a pair of hounds while their owners laughed. More physical pain would come at the hands of one of his employers who intimidated him into receiving several high voltage shocks in a sadistic experiment with a new toy.
Most of his songs were political and were against the unfair apartheid policy. Of course, he is not the only musician who fought against apartheid through songs. Mama Africa Miriam Majeba also sang political songs. He contributed greatly to South African Music.
Reminiscing apartheid in relation to artistic influences would amount to an innacurate recollection if it did not pay homage to Philip Lucky Dube, the times greatest reggae icon not only in South Africa but the entire African continent. The streams of consciousness aroused by the music produced by Lucky Dube are colossal. I cannot help but admire the music aesthetics that he exhibited in his career spanning decades. His songs were generally filled with themes of social justice at a time when apartheid was enshrined in the social fabric and political architecture of South Africa.
Lucky Dube was born in 1964. He was raised by his mother alone owing to the separation with his father. His mother had suffered series of miscarriages prior to the birth of Dube hence the name Lucky. As modernity would have it, his mother had to work and therefore there was another separation from the only family and thus lucky, a child of luck, grew in the company of his grandmother. He joined school, became part of the choir and eventually with his friends formed the Sky Band. From here he forged his way to the music industry and used it as a chance for activism. According to him, inspiration for his music was majorly by Peter Tosh and Jimmy Cliff, Jamaican reggae legends and Rastafarians. However, his first album was banned by the apartheid regime as they found it instigating the people against it. The second and preceding albums were received well not only in the apartheid South Africa but the world and this saw him win a number of awards.
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The familial concerns sung in his music made his songs centric to the basic unit of social life. Family is a complicated entity. Socially, the issues articulated by his songs touch primarily on the family citing circular implications thereof. Ranging from poor parenting, absentee fatherhood, marriage, folly of the youth, general family storms to alcoholism and religious beliefs and freedoms, this are fronted with a family man perspective. The family is at the centre of a number of significant songs by Lucky Dube. This especially surrounds the surreal confinement of single parenting intricacies. Songs like Hold On amongst others are a deliberate attempt to emancipate the woman in an abusive, bothersome relationship.
Many titles to his songs were analogous in nature. This helped his art to thrive in a hostile environment. This informs the level of improvisation that is encompassed in his numerous productions. This improvisation not only enhanced his survival as an artist but also saw him thrive regardless of the surroundings. This contributed to the proverbial nature of his songs and helped build significance something that his songs have not lost to this moment. This shows the versatility of Lucky Dube as an artist.
Lucky Dube was opposed to crime. He had a strong voice in this subject so much so that he almost made it a generic issue in many of his songs. He advised the youth to take the education route to avoid friction with the then government. It is ironic to however note that he died in an alleged carjacking.
The personage of Lucky Dube is immortalized in his songs. So far so good, even in death the songs he left behind for the music lovers continue to serve as inspiration to social justice defenders. The mainstream influence of the music by Lucky Dube continues to resonate with us and shall continue to in the near foreseeable future.
The lyrical content analyzed in the aforementioned songs contain themes such as anti-colonialism, anti-apartheid, anti-racialism, anti-war and imperialism, as well as calls to eradicate gender-based violence, alcoholism, xenophobia, and both ethnic and race-based discrimination. Lucky Dube undoubtedly was aware of the humanitarian, human rights, and social justice themes found in his music. In an 1995-6 interview, Lucky Dube stated:
What pains us is that his birthday which is in August is not celebrated in SA. In other African countries like Zimbabwe, Zambia, Namibia they celebrate it. For example, in August, I was invited to Burkina Faso where they had an event to celebrate his born day. I further went to New Zealand where I even performed some of his songs." f9413d35dd