Africa music reviews

Kicking horns, lively beats, syncopation...

This music is intoxicating... I have been listening to it for years and I can listen to it daily and it always sound lively.

Gets me moving when I need to move. Takes me up if I feel low.

And you can DANCE to the whole thing!!!

EVERY person I have introduced to this music enjoyed it... most turned around and bought their own CD's!!! Even my stodgy brother, a professor of music who listens for mistakes at concerts enjoyed THIS group.

BUY IT! I can't imagine you regretting!

This CD is so much fun it's unbelievable. It makes me happy and energetic every time I put it on. Plus I saw them in person in Oakland and it was just as good. Do yourself a favor and get it!

I have this CD on at work, and people are always asking about it. Kotoja has really put together a great mix of music and musical styles. They have other CDs that I like (all with a similar good-feel groove). Enjoy!

You can tell that Baba 70 put a lot of work into this album. From the lyrics and wordplay, to the tight instrumental arrangement. It has been and still remains my favorite Fela composition.

I never heard this one performed live at The Shrine, so it is not one of those that bring back the memories of late nights - sometimes wet, loud speakers thumping into your gut while you yell out the lyrics of the song along with "Abami Eda" - one of Fela's many nicknames.

It is, on the other hand, one of those albums that I listen to late at night, when it is really quiet and you are able to hear each instrument more clearly. Time and time again you discern a different pattern in the intricate tapestry woven by the many instruments that make up "Egypt 80". It is also one of those in which you listen to the instrumental solos and decide that nothing more could have been added or taken away.

Released on CD in 1986 (I'm assuming the LP was released at this time as well), this album is made up of 2 tracks - the title track and "Look And Laugh"; and was produced by Wally Badarou. I recommend it highly, if you are able to find it.

"Everybody say Yeah Yeah!!"

GREATEST hit of all times. Non has come close so far. If you like this track, you will also like BREAST OF NO NATIONS.

... the instrumental on T.D.T.M.N. will blow you away and is probably the best on any of his releases. The album was produced by Wally Badarou. If you intend to have any of "Baba 70's" albums, this one is a must have!!

While this set has some nice songs, this isn't necessarily Nass el Ghiwane at their best. Emphasis was obviously put on Gnawa music and the Maalem Abderrahmane Paco since the band was approached by BUDA records of France to play a Gnawa album to add to their "Music from the World" catalog. And this was way before the Gnawa explosion of the late 20th century that Morocco has been witnessing for the past five years. There are some odes to old Ghiwane songs like El Kelma and mostly Zad el Ham.

This CD gives a nice listening but it is plagued for not being neither Nass el Ghiwane nor traditional Gnawa, just so you know what you are buying. If you like this record and Gnawa music in general, I advise you to get Abderrahmane Paco's CDs that he made after he left Nass el Ghiwane in 1993.

I first heard this CD around 1990 and it blew me away. I had never heard anything like it. My friend (whose CD it was) taped it for me and I've been wearing out that poor cassette ever since. I wasn't able to find the CD in stores by the time I went looking for it. All I had was the artist's name and the songlist writen on the back of the cassette.

Listen to it late night with the volume up. If this doesn't move you, and make you want move, you have no soul!

Nass el Ghiwan are the best musicians I know!
Actually, more than moroccan musicians, they are Morocco ...
If you feel blue, just listen to them, their transe healing is magic!

Diabate is the master of the kora, essentially a 21-stringed harp made out of a giant gourd or pumpkin. To see him live and watch his fingers barely move across the strings is to see genius at work. He's a hulk of a man, standing at around 6'7", and his hands are huge, but the delicate way he plucks the strings brings to mind the classic Gentle Giant. This is beautiful music, sometimes soft and gentle, sometimes blazing and incendiary, always wonderful.

I saw Mamadou and his band twice at the National Folk Festival in Bangor, Me. I was overwhelmed by the power of the music. Mamadou and the entire band signed my CD and were as gracious as they were intensely awe inspiring. The music here is simply beautiful throughout.

Last night I experienced the music of Mamadou Diabate. The music and sounds that eminated from his Kora had me seated in awe as I listened and watched wholeheartedly to this wonderful musician. I would recommend this CD to anyone.

I had the pleasure of hearing this entire CD several months ago and thought, "WOW! This stuff's great!", and at that point I would have given it the full 5-Star rating. So what happened? Well, I had the even greater pleasure of seeing Vusi perform in a small music hall last week, by himself (as in no band), and that experience was so great that it has sort of destroyed the pleasure of listening to my new (autographed) CD. :-( In my opinion, the band that accompanies Vusi on most (all?) of the tracks, while good, actually detracts from the soul and emotion of his message. Case in point, Vusi has released two different versions of "When You Come Back", one on the "Amandla!" soundtrack, and one on this CD. The version on Amandla! is a simple acoustic number that to me at least has far more impact than does the highly produced (to use another reviewers phrase) version on this album.

Will I still listen to this CD? You bet! However, every time I hear it, I'll be wishing for an "unplugged" version.

I purchased this cd when it first came out & not one week goes by that I don't return to its lovely melodies. If you're a fan of Ladysmith Black Mambazo you are sure to enjoy this recording.

During summer 2004, I saw Vusi perform in New Jersey in front of an audience who had little to no previous knowledge of him, his music or South African music in general. But it only took the 1st strum of his guitar and utterance of his voice to let the audience know that we were in for a treat! By mid-session, he captured the hearts of the audience, and at the end of the performance, no one wanted it to end!! This cd is the same, even if you don't know him or his music, it is pure joy from beginning to end, and then the listener is drawn to hit the repeat button to play the deeply meaningful words set to delightful melodies over and over. He has an amazing way to tell about difficult and bitter days in South Africa with such sweet melodies that seem to mend the wounds of years gone by.

Fela Kuti is music incarnate. The man just weaves magic with the help of his orhestra. He is passionate and soulful which he manages to express while keeping a groove going that just won't quit. A master at his trade. Anyone who likes music must hear this man play. If you like Fela, also check out Manu Dibango.

Fela is difinetly a god of music. You may not understand what am saying if you are not from Nigeria or any African country. This man has all elements of music, plays pratically all musical instruments. In short he is too hot to handle. I have not seen any match for Fela in the United States musical industry. He is a natural born artist. Baba Fela Sunre o. Awa ijinle Egba lon ki yin O.

I think Fela effectively bridges the gap between African music and Black music in america in this CD. Fela decribes his music as spiritual and uses the organ which is historically associated with church music. I would suggest this CD as a great introductory CD.

Oumou Sangare's WOROTAN follows the rich tradition of Malian `griot', story-teller, music. She sings mainly about social issues, addressing traditional values as well as injustices in a very personal way. The griots have been famous throughout West African cultures as the entertainers at festivals and major family occasions, as well as the recorders of family history and the social conscience of a whole ethnic group. The griots are a special `caste' and only people from selected families are allowed to assume the role. Griots move outside the mainstream of the class society. There are any number of famous griots in the Malian music scene.

Some of the songs might seem somewhat monotonous or repetitive and it is worth reading the text of the songs to understand what she is conveying to her audience. Oumou's beautiful voice is not in the forefront in all songs; she is accompanied by a women's chorus that is typical for Malian music but not necessarily the most melodious for the non-accustomed ear. Her voice though, is powerful, varying with the theme she addresses. It is particularly beautiful in the last track, a haunting song about her anguish about the world around her.

A mix of traditional instruments, such as the ngoni, a one-string guitar-like instrument, the Peul flute and, of course, the essential djembe, the Malian drum, are combined with modern instruments resulting in a good variety of accompaniments.

WOROTAN means `10 kola nuts', a traditional bride price. Kola nuts are in general regarded as a precious gift that is offered on many occasions. Likewise, this CD is a treasure that can be offered and enjoyed by many. For newcomers to Malian music it should be listened to a few times so that the increasing familiarity with the music allows an increase in listening pleasure.

I love Oumou Sangare. Every time her Wassoulou music come out from my CD player I begin a travel inside the African universe, across the Mali region. Everything is beautiful: the sharp sound of kamelngoni, the soft support to melodie of violin, the counterpoint of the choir, the delicate strenght of percussions. But nothing can be compared to the Oumou's voice. To listen her is to love her. In that voice there is all the deep charm, the fresh sensuality, the strong soul of african women.

This CD is a miracle, born from the encounter between Oumou and the genius of Nick Gold's World Circuit label (who of you knows Nick only for Buena Vista Social Club?). Is the third Oumou's CD, the same intensity of others with some news: the horns of Pee Wee Ellis, the flute of Yacouba Mamouni (Mamar Kassey), the spanish guitar of Nitin Sawhney (hear the sweet ballad Djorolen). Five stars, but one hundred are few.

My experience of the album followed her concert in Seattle. Within 2 minutes of music I was weeping, my heart changed shape and grew larger. I hardly listen to anything else since then and I will serve her someday. The groove of the band is a drummer's dream, incandescent, and her off-beat phrasing loops long lines over the top. Try singing along!

Oumou Sangare's WOROTAN follows the rich tradition of Malian `griot', story-teller, music. She sings mainly about social issues, addressing traditional values as well as injustices in a very personal way. The griots have been famous throughout West African cultures as the entertainers at festivals and major family occasions, as well as the recorders of family history and the social conscience of a whole ethnic group. The griots are a special `caste' and only people from selected families are allowed to assume the role. Griots move outside the mainstream of the class society. There are any number of famous griots in the Malian music scene.

Some of the songs might seem somewhat monotonous or repetitive and it is worth reading the text of the songs to understand what she is conveying to her audience. Oumou's beautiful voice is not in the forefront in all songs; she is accompanied by a women's chorus that is typical for Malian music but not necessarily the most melodious for the non-accustomed ear. Her voice though, is powerful, varying with the theme she addresses. It is particularly beautiful in the last track, a haunting song about her anguish about the world around her.

A mix of traditional instruments, such as the ngoni, a one-string guitar-like instrument, the Peul flute and, of course, the essential djembe, the Malian drum, are combined with modern instruments resulting in a good variety of accompaniments.

WOROTAN means `10 kola nuts', a traditional bride price. Kola nuts are in general regarded as a precious gift that is offered on many occasions. Likewise, this CD is a treasure that can be offered and enjoyed by many. For newcomers to Malian music it should be listened to a few times so that the increasing familiarity with the music allows an increase in listening pleasure.

I love Oumou Sangare. Every time her Wassoulou music come out from my CD player I begin a travel inside the African universe, across the Mali region. Everything is beautiful: the sharp sound of kamelngoni, the soft support to melodie of violin, the counterpoint of the choir, the delicate strenght of percussions. But nothing can be compared to the Oumou's voice. To listen her is to love her. In that voice there is all the deep charm, the fresh sensuality, the strong soul of african women.

This CD is a miracle, born from the encounter between Oumou and the genius of Nick Gold's World Circuit label (who of you knows Nick only for Buena Vista Social Club?). Is the third Oumou's CD, the same intensity of others with some news: the horns of Pee Wee Ellis, the flute of Yacouba Mamouni (Mamar Kassey), the spanish guitar of Nitin Sawhney (hear the sweet ballad Djorolen). Five stars, but one hundred are few.

My experience of the album followed her concert in Seattle. Within 2 minutes of music I was weeping, my heart changed shape and grew larger. I hardly listen to anything else since then and I will serve her someday. The groove of the band is a drummer's dream, incandescent, and her off-beat phrasing loops long lines over the top. Try singing along!

Let me start with the positive remarks: Lucky Dube has a great voice, inspired lyrics and a energetic attitude with a message. But through this all, and through his singing technique and the use of the musical instruments, he is so unmistakenly and typically South-African (or African in general) that I really cannot put this in my library with the real Reggae music. I like my Reggae music pure; this sounds like a Frenchman singing the blues, if you get my reasoning. Conclusion: this is pure South-African under a Reggae-ish blanket. Lucky Dube, come out from under that blanket and show your real self (which is not Rasta).

Like another reviewer here, I was at the Reggae on the Rocks, in Denver in 97 and witnessed Lucky Dube's performance which sadly did not make it onto the live recording from that show.

This cd is a wonderful release by this unique performer. He does seem to have a voice and vocal styling similar to that of Peter Tosh and the back up singers do quite a job of weaving a beautiful vocal net around Dube's vocals and the instruments.

Guns and Roses is a nice slow paced beautiful reggae song with unbelievable back up vocals.

Taxman is a bit faster paced with some edgy guitar work thrown in. A pretty solid track.

Is This the Way starts off like it could maybe be a heavy metal song due to the guitar work, but quickly slows down with a Burning Spear-esque riddim and the trademark Lucky Dube sound. The guitar resurfaces and I could do without it, but it doesn't detract too much from the song. It fits.

Take it to Jah is a relaxing reggae song with more hints of Tosh in his vocal styling. Stringed instruments are weaved in nicely and as usual the backing vocals are perfect.

Mirror Mirror sounds alot like Prisoner from Serious Reggae. One of my favorites.

We Love It opens with a nice little drum solo and moves into signature Dube Reggae.

You've Got a Friend is a positive mellow track. Nice.

Kiss No Frog is so-so. You really can't go wrong with the formula Lucky Dube has perfected, but some are just not as good as others.

Well Fed Slave/Hungry Free Men has some very cool drums in the middle of the song, but the song is a bit slower than most. It is a nice song, but a bit too slow.

Good Things is probably my second least favorite. Not enough reggae feel for my tastes. However, it is a quality song. I prefer Culture's Good Things.

Release Me makes up for the lack of reggae feel in Good Things.

I Want to Know What Love Is...well...uh...I don't like it. This is my least favorite on this cd.

Overall a very pleasant cd and easy to listen and relax to. Nice mellow reggae from Africa.

One of my favorite CD's, This CD is truly a Reggae classic. A friend of mine recommended it to me and I bought it immediately. One thing that makes this CD so great is Lucky's female background singers. They are incredible! His partner on the duet "Release Me" has an amazing voice. If she ever cuts a solo CD, I will be the first to buy it. Lucky is no slouch in the vocals department either.I highly recommend this CD to any Reggae fan.

The inter-cultural and inter-genre mixing on this album is enough to make anyone cringe at first glance. Likewise, the titling of Solomon Linda's classic "Mbube" as "Wimoweh" is equally cringe-worthy in its blatant attempt at marketing.

However, once you get by that, you'll hear a decent album. Manu Dibango, no matter how you cut it, is a great musician, and the opening track "Soul Makossa," performed in collaboration with Youssou N'Dour, confirms this.

The fall-down tracks tend to be the South African/South African related ones, in which the end result just sounds somewhat confused (Pata Pata is probably the best of that batch). Not terrible, mind you, just not overly great.

However, all-in-all there are a few tracks that stand out as quite good - Soul Makossa, Wakafrika, and Jingo are all quite good tracks.

The ultimate problem that this album suffers from is that it's good, but nothing really special. Perhaps, as the Amazon.com review notes, the problem is that in bringing in all these artists and trying all these styles, Dibango has to meld everything into a very homogenous sheen. If you really like that sort of worldbeat approach to music, then this is your album. It's pretty upbeat and danceable, yet it lacks a certain individuality and personality.

This is one of my favorite world music albums, one of my favorites in general. Melody, rhythm and lyrics blend together into something unique, but, not too foreign. Well worth a listen.

This CD is killer. There isn't one song that isn't great. I have certain CDs that I own that I consider precious jewelry because every song is a jewel. This is one of them. Words cannot express how much I love this guy and this CD!