Africa music reviews

I have been following Angelique Kidjo since the release of this album. I have all her albums and still like this one the best. The energy in this release is incredible. Angelique's powerful vocals are something which set her apart from most other signers. She is touring the US this year (2001) - I'm planning to catch her at the Hollywood Bowl in mid August. She is a great performer so try to see her while on tour.

A nice blend of African grooves, pop and a taste of house with Fon and Yoruba lyrics. This should set a trend???

This is the 4th album of the petite Beninois singer an it transcends the category "world music" since all the fast numbers could fit easily snugly in the dance music genre, thanks mainly to the slick production of Joe Galdo who also twiddled the knobs for Gloria Estefan's Miami Sound Machine. The result is a vibrant clubland mix of reggae, funk and African Beat with rattling, percolating percussion above which her highly distinctive voice soars and swirls. Most of the racks ere co-composed by Kidjo and her husband, the bassist Jean Hebrail. "Batonga", the opener is a foot-tapping dance track whilst the tender ballad "Logozo" gives her voice the chance to shine in all its glory. Accompanied by acoustic guitar, her voice also impresses highly on Miriam Makeba's "Malaika." A remix of the title track of her 1985 album "Ewa Ka Djo" is another floor-filler, as are the reggae-tinged "Kaleta"(lovely synth melody) and the complex "Eledjire" with its Nigerian polyrhythms. Angelique sings in French, Yoruba, Fon, Mina and Swahili and is assisted by Branford Marsalis and Manu Dibango on sax and Ray Lema on background vocals. Forget about techno, dance to this!

This Best Of collection opens with Keita's great hit Sina from his masterful Soro album, an ebullient piece where his soaring voice is framed by soulful female vocals and polyrhythmic beats.

The more laid-back Mandjou has a jazzy structure, skittering beat and yearning vocals. One of my favorite songs is the catchy Nyanafin (from the album Amen) with its tinkling hand-piano sounds, wailing backing vocals and rolling rhythms - a stunner!

The up-tempo Ignadjidje is a gentle pop song whilst Nou Pas Bouger is a funky, brassy number. Djembe is a subdued, soulful affair, the spacious Souareba an evocative mix of Western and African sounds and Tenin is a light, dance friendly track with engaging keyboard and drum patterns.

The atmospheric track Sanni Kegniba starts out with eerie muffled vocals and a solitary drum sound before developing into one of Keita's powerful ballads. The album closes with the lilting pop tune Dalimansa.

My only complaint is the omission of Yele n Na and Karifa from the Amen album. These amazing songs also deserved a second hearing, but overall The Mansa Of Mali is a superb introduction to this popular Malian musician.

This is one of the most beautiful and interesting albums I own. My husband and I traveled to Mali several years ago and became interested in the music there. This album took all the good parts of the music of Mali and added world music to it. While listening to it you can almost see the women picking okra in a field and smell the scents coming from the outdoor markets. I would recommend this to anyone. You don't have to speak Salif Keita's language to appreciate the beauty of this album.

If I had to live on a deserted island, this is definately one of the albums I will take with me. Track # 2 kicks a-s-s !!

Get this album. Get the "Secret Museum of Mankind - East Africa" collection of archival stuff, and listen to the Jean Bosco Mwenda track on that (worth the price alone, but the rest of the disk is great, too). Get the "Origins of Guitar Music" compilation of Hugh Tracey field tapes from the 1950s (same deal). Then try to figure why none of this guy's other stuff is available. His voice got rawer and more soulful with age, but his guitar was sheer genius from the start. My wife and kids are fans, too, and they don't always share my love of African music.

To cut to the chase, this is one of the most beautiful CDs I have ever heard. I stumbled onto Jean-Bosco Mwenda while listening to a CD titled "The Secret Museum of Mankind", which included a single track by this new-to-me musician. A search of amazon.com and other sources revealed "Mwenda Wa Bayeke" to be the only complete disc currently available. Upon first hearing the CD, I was stunned--transfixed, really--as I listened to track after magical track by this unbelievable talent. That initial response has not faded after many, many subsequent hearings. Recorded near the end of a long career, the voice is not as fresh and even as during his heyday (1950s and 60s). Nonetheless, the vocal quality--at turns joyous, earthy, and not-quite-melancholy--is still hauntingly beautiful, and the solo guitar is literally mesmerizing. My only "complaint" is that the final track is performed as a solo guitar instrumental. While incredibly beautiful (with an intentionally discordant lower string that is reminiscent of some of the Bach lute suites), I would rather have heard how Mwenda would have sung the piece. But that's like complaining that the tenth best sunset you ever saw was not quite as awesome as the first nine. The liner notes reveal that Mwenda was a dominant recording artist in Africa a few decades back, with around 150 titles to his credit. The customer reviewer who said that this disc changed his life got it right; it is a treasure that cannot leave you unaffected. Each playing causes me to have a somewhat empty feeling, knowing that I missed out on so much of what Mwenda had to say, musically, during his life. [Since the recording, Mwenda was tragically killed in a car wreck.] Let's hope that some enterprising music producer will seek out some of the older LPs, remaster them to CD, and make them available to us hungry fans.

This is my supplement to an earlier review of this magical disc. I can only add that after another year of playing this music a few times per month, it has not grown old, only more mysterious. Few recordings hold up under such repeated and close scrutiny, but this is like a great work of art: you see (or hear) something new every time. I repeat my plea for someone to produce a sequel disc, drawn from the numerous earlier recordings (on vinyl, from the 50s and 60s) of this African master.

While one of Oliver Mtukudzi's tunes would fit in beautifully on an African mix CD, this collection doesn't show a lot of range musically. Basically, every tune is a four bar verse progression followed by a four bar chorus progression, with the same melodic riffs repeated over and over again. They're nice riffs, but it's hard to tell one tune from the next.

But... his lyrics are supposedly very good, though I suspect most listeners won't be fluent in any of the African languages he sings in. The liner notes do explain the song lyrics in narrative form, not word-for-word (which would probably lose the meaning, anyway).

I guess it depends on what you're looking for... this is worth a couple of spins, but something like one of the Rough Guide's country-by-country anthologies or a more dynamic group like the Sweet Talks or Tinariwen have more enduring value.

By far one of my favorite CDs. Very upbeat, thought provoking CD. Keep it up Oliver, makagona apa mukoma.

This album contains joyful music that will have you toe tapping and humming along. Even after countless playtime in my car and at home the songs still sound fresh from the upbeat and optimistic soul of his music; plus his respect for family and fellow humans comes through in the lyrics. Its a shame that artists like Mtukudzi do not get more exposure in a crowded space of trashy music.

A beautiful, happy collection indeed.

Its rare that you can listen to an album that stands alone both on MUSIC and MESSAGE... Fela's music consistantly does this... one element doesn't compensate for the other... both are presented at an unbelievably high spiritual and musical level. Take SORROW TEARS & BLOOD... well before Fela's powerful message comes in, the tune is unbelievably musically engaging in depth and funk... Coltrane with a JB pocket.... then Fela comes in mocking the sounds of an approaching police car with his voice... (*anyone familiar with Fela, especially as his music matured is well aware of the brilliant way his pieces just build and build and not simply "stop" where you'd expect them to, but to keep going in interesting directions.) - - within moments, Fela is wise enough to state the first chorus of his verse several times prior to "chanting" his scathing indictment of the army and police in his own country (which can be assumed to also represent police and military abuse throughout the world)... in response the well orchestrated chorus responds with the same vigor and intensity of the horn's JB like horn punches letting you know that they agree and are listening... After the message has been stated Fela delivers his message, then returns to that incredible verse of his once again, then the vocals make way for his solo, Fela being one of the one of the only men in history who could probably be described as both the African JAMES BROWN (actually JB said this) and John Coltrane (my opinion).

The first time I heard some of the tunes on this album I remember it hit me similar to the first time I discvoered modern Jazz... I had turned the radio dial too far to the left, and heard this music that was so different and non-worldly that I wound up just laying on the floor feeling the world was spinning and not knowing what was going on... it was like a religious experience. Rarely since had I had such feelings toward music... but when I listened to Fela's BLACK PRESIDENT CD (which had two of the tunes from this album) it happened all over agin.

Though Fela has developed a cult following since his death, I think the world has yet to truly describeda man with a message as strong and powerful as the Marley's and Gil Scott Heron's and groove that has MANY REVIEWS uttering the words JB and ART BLAKEY in the same breath (and actually knowing what they're talking about.)

(P.S. The Vocal arrangements over the incredibly mysterious, sharp, yet funky rhythmic groove and horn arrangements in COLONIAL MENTALITY in my book serve as high points in musical innovation and performance.)

A great album for both those new to Fela and those long familiar with him. There's not a bad song on here: all four tracks are infectious and danceable, with a variety of rhythms and tempos to keep it interesting and excellent soloing from Fela and the rest of his band. I think Sorrow Tears & Blood is my favorite Fela song; lyrically, it is timeless, and musically, it is enchanting.

If you buy one Fela release, make it this one. "Sorrow Tears and Blood" and "Colonial Mentality" are absolutely essential to your introduction to Fela's body of work. Betcha can't stop at one, though.

This CD gives me goosebumps when I listen to it. Breathtaking harmonies and melodies catch you before you even listen to the lyrics. Fans of world music will find an amazing blending of styles and music types from this one extraordinary group of musicians. I have been a big fan of world music for a long time, but if you are new to it, give this CD a chance - it is wonderful!

I was having a REALLY bad day when my order from Amazon containing this CD arrived. I can barely put into words how listening to this music makes my heart swell and the cares of my world slip away.

If you are just getting into Johnny Clegg and his music, this is the album to start with!! This album contains most of my favorites, with the exception of "Jericho", "Deliwe", and the poignant "Kwela Man". Johnny Clegg has a special magic in his singing, a special way of presenting his music, that I've never heard from any other singer. The rhythm and syncopation of his work is unique, and if I could choose only one album to listen to the rest of my life, this one would be it.

I first heard of Johnny Clegg and Savuka years ago when my friend saw them open for the Grateful Dead. I bought the c.d. at his suggestion, and this is one of my favorites. We took it along with us when we backpacked through South Africa three years ago, and were not the only ones listening to it.

It symbolizes all that makes up South Africa's tumultuous beauty - gorgeous rhythms, volatile politics, beautiful people, kaleidoscopic scenery and amazing beaches. For anyone who wants to get in touch with South Africa's energy, this is highly recommended.

This album is truly beautiful. It is a real gem for anyone who can hear the pain and strength in the music and his voice. It taught me to love portuguese and after many years (4) of listening to it I have cycled in and out of a ridiculous amount of periods of obsession with this cd. I cant find it this time around and I am about to buy myself a second copy of it in case I really did lose the first. I can't say enough about how beautiful this album is, so I will just stop here.

Waldemar Bastos is from Angola, he sings in Portuguese, he plays the acoustic guitar 'Spanish style', and his music is sprinkled with latin musical phrases.
Whilst it is very common in Africa to hear African music with influences from South America (e.g. La Rumba Congolaise from the Congo and Mbalax from Senegal), it is quite rare to hear Latin influences direct from the former Latin colonial powers, not leastly as there were very few Spanish and Portuguese colonies in Africa. This is why this CD is particularly fascinating.
Although many of the tracks reflect much of the grief and sorrow experienced by Angola over the last 20 years, there are also some very joyful and uplifting tracks.(e.g. tracks 5 & 9)
After hearing this CD, one can't help thinking that notwithstanding the severe ecomomic barriers that restrict the creation & development of African musicians, how many brilliant African musicians have been denied us due to war and social turmoil ?
Great production that does justice to the beauty of the music, by David Byrne (Talking Heads).
This CD is a unique musical experience, treasure it!

When will this man do another CD? I love this CD. It is my favorite among all of my international collection. If you love beautiful African melodies, pleasant emotional singing voices, and the Portuguese language, you must own this CD. Waldemar is a wonderful talent. I hope he comes out with another CD very soon.

Majek Fashek, the Prisoner of Conscience, appeared on the scene in 1988 wearing a top hat, large baggy knickers and black army boots. He carried a pair of handcuffs round his wrists and a bell that tolled, "Repent, for the kingdom of God is at hand!...Repent, for the kingdom of Jah is come!" With large dreamy eyes and locks that drooped over his forehead, he conveyed genius reminiscent of the master himself, Bob Marley. Indeed, two tracks on Majek's first album are heavy with the late reggae legend's influence: LET RIGHTEOUSNESS COVER THE EARTH, which carries a Bob Marley baseline, and REMEMPTION SONGS, a Marley track that Majek "kpangolorizes" into a much sweeter version - kpangolo signifying in Majek's native Yoruba parlance music made from tins and sticks, music of the streets. But the most memorable song from the PRISONER OF CONSCIENCE album, a song where Majek sheds his handcuffs to wield a hoe, is SEND DOWN THE RAIN. The song featured at number one on Jamaican charts for several weeks, an unprecedented achievement for a Nigerian. And, as if in answer to the rainmaker's invocations, Nigeria witnessed exceptional downpour that year.

If Majek Fashek displayed genius in his debut album, in the BEST OF MAJEK FASHEK, rallying fellow Africans and Americans from sleep on the first track SO LONG TOO LONG, he is more mature, more original. We know of the talking drum in Nigeria's native Juju and Fuji music genres. But in reggae? Majek employs it beautifully, brilliantly, providing through it the gentle rocking percussion that starts out and steers a song like JAH PEOPLE. The talking drum also supplies the thunder and sense of urgency in the apocalyptic SODDOM AND GOMORRAH, where a frenzied Majek proclaims, "The end of the world is Armageddon!" - pronouncing it Arma-g-i-d-e-o-n. And if Majek's tone was somewhat controlled or constrained in PRISONER OF CONSCIENCE, in BEST OF MAJEK FASHEK he is more expressive, less inhibited; more of his old playful self, rowing through the rain and singing lustfully amidst a boat-load of kids in the video of MOTHER.

For some time Majek has been off the scene, sorting out some personal and professional problems, we hear. But now he's back. And as if sensing the anticipation that has attended the release of his next album - especially that of we fans who have closely followed his evolution through the years - Majek has named his latest effort LITTLE PATIENCE. How apt. I can't wait to get my hands on a copy of the CD.

Majek Fashek, or Majekodunmi Fasheke to give him his full name, has become one of the greatest living reggae artists to be found anywhere in the world, including Jamaica the birth place of reggae. Now partly based in the United States, this Nigerian-born dread-locked musician has released several critically-acclaimed CDs representing the best of the genre. Successfully combing reggae rythmns and an Afrobeat horn section against a background of virtuoso head rock guitar riffs, this is one of the true great atists of our age.

This CD, "Prisoner of Conscience" is Majek's first solo album. Itis fair to say that it has become a hard-to-find reggae classic like 'Harder they come' by Jimmy Cliff and others. Every track is great, for such a young relatively unexposed musician at that time. The first track is the famous hit, `Send down the rain" which took Nigeria by storm when it was released in 1988. According to current myth and the popular belief of the day, there was a deadly drought sweeping northern Nigeria that year. After the release of the record, rains came down and the drought ended. As you can see for yourself by listening to any track on this CD, he is a great singer - but not just that, this is a multi-talented musician and visionary. His musical influences, and self proclaimed heroes, are Bob Marley, for his lyrics and spiritual leaning towards Rastafarianism, Fela Anikulakpo-Kuti for his horns and political activism for the black man's redemption, and the late great Jimi Hendrix for his guitar mastery.

Other great tracks on this CD include 'Police Brutality' and 'Prisoner of Conscience' reputedly written for Nelson Mandela then incarcerated on Robbens Island. It is a tribute to all freedom loving people everywhere who prefer conscience to political correctness or religious orthodoxy. In this respect. Majek follows a long line of visionary artists from Bob Dylan to Bob Marley, his great hero. In fact, many critics consider Majek's version of Marley's 'Redemption Song' on this CD to be superior to the original by the great master himself!

There may a dispute as to who is the greatest amongst Nigeria's current generation of musical talents. Some may say that Lagbaja, being the most popular on the Lagos music scene, deserves to be crowned king. However, while holding nothing against Lagbaja the masked one, without doubt an awe-inspiring Afro-beat arranger and saxophonist, I will say Majek at this point remains unrivalled in sheer skills, originality and message.

In summary, Majek Fashek's first album 'Prisoner of Conscience' is a must for everyone who wants good music, reggae in particular, with a dose of activism. The genre comes no better than this.

One word: Outstanding!, ok two words. Incredibly outstanding!

Pourqoui est-ce que ce groupe n'est pas connu partout dans le monde entier? C'est un vrai mystere..

This album is a work of poetry. A wondrous, magical thing, one that will entrance and enchant and make you glad to be alive. I promise you.

The group is a creative collaboration, a "super group" of seven Congolese rappers living in France.

Technically, you could call it hip hop or rap. But it really isn't. Not in its heart. This album has nothing to do with Compton or 8th Mile. No, it's more music out of the soul of a happy little village in central Africa, with touches of Reggae, Bossa Nova, Electronica, and a little Parisian sophistication thrown in. There is little alienation and absolutely no machismo, cynicism or bitterness here. Sadness, defiance and even a little anger? A gimlet yet paradoxically hopeful take on the evil in the world? Sure. But only as a codicil drowning in overwhelming gladness, hope and one hell of a happy bass line.

This is a very political album. The themes concern being Congolese in exile in Paris, but longing for home. In "L'Union:" "Moi je viens de Congo.. je ne veux pas mourir en France" "Paris est comme un urban prison.."

The major themes are the beauty of Africa, the terror of war, and the need for African & Congolese unity. As in especially "L'Union" and "Apres le Guerre."

"L'union: La rassemblement de tout le peuple congolaise" "Stop le guerre, il est inutile de nous battre.."

The corruption of the Congolese government is humorously skewered in "Dans La Peau d'Un Chef."

As are superstition and witchcraft in "Légendes Africaines."

The desperation of exile in Paris is treated in "Le Cul Entre 2 Chaises."

"Amiyo" is a glad little love song: "Amiyo, ton couer est ma maison, mon amour est ton toit, j'ai besoin de toi.."

Tata Nzambé is a hymn to God the Father, which is evidently what the title means in the Congolese.. this song simply rocks.

The title song "Bisso na Bisso" is an repetitive rythmic anthem: "bisso bisso bisso na bisso" - meaning "everyone all together" or "tout ensemble." Great stuff.

Every song here is sublime, most are so joyful that it'll make you wonder why you haven't been to the Congo. Until you remember that niggling civil war, which you've probably never heard about in the first place.. mais c'est pas notre histoire, pas notre lutte, eh? La musique est bonne, et ca suffit.. aucune probleme de conscience ici. Non. Pas de tout.

To lift the sublime opening line from one my favorites, "Bisso Fri:" Chewy chewy choo. Choo.

Chewy chewy choo, Indeed.

An album that should appeal to both hip-hop fans as well as those looking for new upbeat African music. I don't understand French, but as a Hip-Hop fan, I immensely enjoyed the flow (easily as good as Fonky Family I would say), and the beats are varied and interesting. This makes racines an excellent 4 star album in itself, but the way they fuse traditional African rhythms and melodies to create something beyond Hip-Hip, makes it a 5 star album in my reckoning.

One of the Counselors I worked with at the Concordia French Camp had this CD and played it for me this summer-it TOTALLY blew me out of the water. I have not been so blown away by an album since I heard Scarecrow by John Mellencamp in 1985. "L'Union" is my favorite track on the album. You don't need to speak French to appreciate this album-if more Rap was as good as this album, I would buy more Rap albums, but this has the best of rap, voice-overs and African beat......

I have listened to a lot of Ali Farka Tour�, primarily his later works, and especially Niafunk�. I must say that this CD was both refreshing and a tiny bit dry. The first track is like a cup of strong coffee first thing in the morning, with Ali and another musician playing a little duet on njarka violins, with Ali suddenly speaking very rapidly and loudly. It sounds like he's introducing himself, as one hears 'Mali' followed by 'Bamako.' There are some REALLY good tracks on this CD, especially Machengoidi, Samariya, and my favorite, Hani. All of the tracks are good, but Niafunk� is still my favorite AFT CD. I understand that these are old recordings, and perhaps the mixing isn't the best, but I would really recommend that you have your hand on the volume control while listening to this CD. Ali's voice seems to have gotten better with time. On Niafunk�, his voice is a smooth, velvety, deep baritone. On Radio Mali, however, it is significantly more nasal, is somewhat grating, and lacks the beefiness that you hear in Niafunk�. The vocals seem to be far too loud in comparison to the instruments, and anyone who is familiar with AFT's music knows that he's not shy about using his voice. On many tracks, the guitars' introduction lull the listener into a trance, only to be violently shaken out of it by Ali's younger, much more nasal voice attacking a high note. This happens several times throughout the disc, and I've often found myself reaching for the volume knob. The music tends to get somewhat redundant. With a whopping 16 tracks, the same instrumentation (usually two acoustic guitars, with an occasional ngoni [not the kamalengoni of the Bambara, but an instrument more similar to the Tuareg tahardent lute]), and Ali's habit of not utilizing more than a few keys, the songs begin to sound very similar. Perhaps the CD just hasn't grown enough on me....but I agree with one of the other reviewers of this CD that this is best appreciated by one who has heard other Ali CDs. I am well accustomed to VERY diverse and unique music, and this CD actually began to bore me a little bit near the end. I think this CD is great for die hard Ali fans. And for those of us less dedicated Ali fans, it's a very interesting compilation of his earliest recordings. Great music to relax to.

Radio Mali was the first Ali Farka Toure release I had ever bought or heard. At the time I was listening a lot to Blind Lemon Jefferson and found some interesting parallels between the two musicians. I like the dry, intimate, non-produced, straight to the microphone sound of Radio Mali. Like Lemon Jefferson, Ali Farka Toure has a deep, resonant and booming voice that equals or betters his guitar playing. My brother noted that some of the songs are akin to Celtic music in that they are built from a single melody line that is repeated with variations. Simple but subtle. I'd use the word pastoral to describe this music, since it is very relaxed in feel and rhythm. For a guitarist, Radio Mali is an endlessly fascinating (and at times, frustratingly hard) batch of songs to play along with. Like Lemon Jefferson, Toure is an extremely deft fingerpicker who relies on just a few basic chord positions (open C in particular) and independent bass and melody to sketch out a very full arrangement with just six strings. His rhythmic sense, and use of some very offbeat rhythms (most likely traditional Malian rhythms) add a great deal of depth and complexity that rewards repeated listening. I just really like this stuff and am glad it was recorded and is available.

This is row music, the most traditional of Farka Toure's recordings. when I first heard him, on "The Source", I too thought of John Lee Hooker. This impression gradually faded on "The River" and completely disappeard when I heard this cd.
Farka Toure is an original, and in this cd there is only one track that may be influenced by the blues, which is Hani (track 7).
The rest of the cd is hauntingly beautiful, and rewards each listening with fresh discoveries. In AFT I found a rare instance where a musician's voice and guitar playing rival each other for beauty and skill, with both coming up as winners.
I agree with those who say this cd is better appreciated after hearing other AFT cd's, or for people who have listened to other Malian musicians. I would also like to draw attention to the beautiful liner notes and to AFT's remarkable story of how he became a musician.