Africa music reviews

If you have ever lived and loved in Africa, Khadja Nin's voice in this album will evoke powerful memories of those times. Her voice is the sensual embodiment of humanity's longing to be heard and understood.

I HEARD ABOUT THIS ARTIST A LONG TIME AGO & I DONT KNOW WHY I HAVEN'T GIVEN IT A LISTEN TILL NOW. ALL THE TRACKS ARE OUT OF THIS WORLD BUT THE TRADE IS HER VOICE, IT'S ADDICTIVE ONCE U PLAY IT U WONT GET ENOUGH FROM TRACK ONE TO END.SHE SINGS IN ENGLISH, SWAHILI & SOMETIMES FRENCH. ITS NOT EASY TO CHOOSE A FAVOURATE TRACK BUT IF I WERE "FORCED TO PICK" IT WOULD BE "SAMBOLERA', "FREE", "LIYO LEYO", "MAMA", "SAVE US","WANNA WA MAMA'. MY ALMOST TWO YEAR OLD DAUGHTER LOVES "SAVE US" BECAUSE OF THE RHYTHIM, MORDEN INSTRUMENTS WITH A EUROAFRICAN MELODIES ARE ALL HERE. THIS CD IS EVERYTHING ONE CAN EVER NEED.JUST PURCHASE THE CD & HEAR FOR YOURSELF. IF U NEED A REAL DEAL BUY THIS CD & ANOTHER ONE TILTLED "YA".

Khadja Nin's music is absolutely fabulous - sexy, catchy, soulful intelligent African pop. But every song on this album is on either "Khadja Nin" or "Ya Pili", with the single exception of Sina Mali, Sina Deni which has appeared before on a compilation album (United Voices of Africa).

Does this album really capture the best songs from the first two? I don't think so - I'd recommend buying "Ya Pili" first (despite the title, which means "second") and then if you're hooked (which you probably will be) you won't hesitate to buy "Khadja Nin" and "Ya".

I really enjoyed all the original works on this cd. Lucky Dube is a nice surprise from the traditional reggae with a real message to preach!

Trust me, if you like this, you haven't heard nothing yet. The original Albums are the bomb This is like a sample. For all who are just catching on, you were lost, this is only part of catching up.Now that you found him, you can get your Lucky too I Love "I Got You Babe" and you will too.

If you are thinking about buying something because you have just discovered this artist, this is the recording you want. For those who know this performer, this recording is a classic keeper. This man's range is incredible, and what he does with his voice (as well as with his life and his art), is just amazing!

Gudo haridye husiku means the baboon does not feed at night, simply meaning that it has all the time to do anything in broad day light when everyone can see.Thomas Mapfumo " Mukanya" owes his totem to a baboon and has done everything with his music to show the light. He is an icon and has never collaborated with any politician but has arranged his music according to the different eras of our life in Zimbabwe. You need to be able to genuinely understand what was happening during each and every period that he did each song.He has with-stood the tide of times and only a few will understand this,some of those times meant life and death. He was the last standing warrior in Zimbabwe when everyone had vanished to the assignments of the Chimurenga War. He was the true war rebel, the crier.His songs are a doctrine of life in Zimbabwe He has sang for and against every leader and only the deeply cultural will understand why he has done all he has done. It is this characteristic that makes him the light-house of the life in Zimbabwe before, now and forever. Sometimes we hear but don't understand. Thomas owes no man noapology. Don't forget that Muzorewa was an icon for all the black people in Zimbabwe even Mugabe and all the other nationalists can acknowledgee that. Don't blame Muzorewa as he pioneered the idea of the Zimbabwean people solving their problems at the table. don't forgeet thatt all the men, women and children who sang for Muzorewa then are the same people who sing for Mugabe now.Mugabe did not wwant to acknowledge what Muzorewa did that time beccause he was greedy for power and that still shows now. Mukanya forever, others may sing but they are fighting for second place.

These are as i always like to say, Mapfumo's best years. Although before this album he was singing praise for the Smith-Muzorewa government' his music was still good. I loved this album when it came out and i still have the "LP", original vinyl from this age( I can't play it though coz i don't have a record player) but definately a gem. Five star material!!!!

It is about 20 years now since Mapfumo released Shumba as an apology to his people for ostensibly collaborating with the Smith-Muzorewa attempt to hood-wink Zimbabweans into ending their struggle for freedom. As an introduction to Zimbabwean rhythms it is a must for any westerner wishing to understand the adaptation of the mbira sound to a wider audience. Incorporating infinite melodic variations around a central theme (if you listen, you will hear the Irish in it) and those tantalising African rhythms you will have to go a long way to find a better initiation into the spirit.

This album typifies the best of WORLD MUSIC FUSION. Cultural and linguistic boundaries are crossed, intertwained, and revamped. Exotic yet familiar, peaceful yet jubilant....this CD aims to please all audiences! (And does so very successfully!) This CD is a wonderful addition to any musical library appealling to the highly trained instrumentalist to the most earnest lover of music appreciation. I highly recommended without any reservation.

My copy of this CD came with a sticker stating that Time Magazine has called Tarika one of the ten best bands on Earth. Well that's cool but you'd have to be familiar with every single band in the world to make a statement like that. But accolades like that are indeed reasonable for this excellent band from Madagascar, who start with a foundation of traditional African music, but have added a plethora of intriguing ingredients from around the world. This is true "world" music. And I don't mean the music industry's simple definition of the term - which basically means anything non-Western. The concept behind this album is the cultural connections between the peoples of Madagascar and Indonesia, which have been much researched by group leader Hanitra. Therefore a seamless fusion of African and Asian sounds makes up the foundation of this album. The Asian influences are especially pronounced in "Koba" (which has killer vocal harmonies) and "Set Me Free." But there are other surprise flavors throughout this disc, including a surprising Country & Western influence in "Tovovavy" (I understand that C&W is actually popular in Madagascar); plus a remake of "Be My Baby," known here as "Malalako," which is sung in three different languages. The sinister closer "Madindo" shows a clear Middle Eastern (especially Moroccan) influence, with even a hint of reggae in the rhythm. This is pure musicianship at its best, from a band that clearly has vast knowledge both of their own African music traditions plus other sounds from around the world. As an added bonus, check out the fascinating liner notes about the Madagascar-Indonesia connection.

Madagascar was originally settled about 1,500 years ago by Indonesians. In 1999, the Madagascar band Tarika's leader Hanitra Rasoanaivo visited Indonesia and found the roots of a lot of Malagasy traditions. On this resulting album, Tarika gets together with several Indonesian musicians to explore their common musical roots.

But that's not what makes this Tarika's best album to date. Their songwriting has made a huge leap forward here. For the first time, their melodies and arrangements are as strong as their rhythmic sense. The songs "Koba", "Allo Cheri", "Baraka", "Set Me Free", "Aretina", the ballad "Ela", and "Sekta" are all drop dead gorgeous. The band uses many instruments native to Madagascar; the harp-like sounds of the valiha and marovany give an ethereal quality to the music. This album has all the stuff I love about the best Malagasy music. While Tarika often writes about serious subjects, this won't mean much to those who don't speak Malagasy. The music is joyous--I defy you to tell which song is about cultural imperialism and which is about rice pudding without referring to the liner notes. The album includes a cover of the Ronettes' "Be My Baby", with verses in English, French, and Malagasy. The production, by Sabah Habas Mustapha, is flawless. As usual, mentor Ian Anderson (of Jethro Tull fame) contributes some liner notes and a slide guitar cameo.

Must listening. This is the real deal folks. Fugetabout the "Enya"ized American New-Age Mbira CD's....none of the "healing" blather needed for this one.

Hey, I usually distrust stuff coming from whites about African things, as they perceive it from their own mentality and fail to get in touch with the African soul. This CD was compiled by a white, but wait, man, that's all about it. He did not fiddle with the music, these are original recordings from African heartlands, and any African try to rediscover his African soul and to listen to it will just feel it. Although the compiler his white, the music is much more African than most contemporary African bands that pollute original African music for commercial reasons (does greed belong to the African soul? No man, shame on them), so as to sell it in white countries and get many bucks. Not so here, man. I was unsure about the CD until I listened to it, and that was a pleasant surprise. Conclusion : recommended to all my brothers and sisters..

Paul Berliner literally wrote the book on mbira (The Soul of Mbira), this accompanying recording is top notch. All of the tracks are field recordings and the whole album has a very unpolished feel. If you listen to this album with headphones in the dark, you'll be transported to Zimbabwe. Many of the great artists featured on this album aren't even alive anymore. It's a rare look into traditional mbira music.
There are no Thomas Mapfumo style guitars or electronic instruments, strictly mbira, hosho (shakers) and voices. These are the roots of Shona music. This collection shows why Zimbabwe is considered to have developed the mbira most of anywhere in the world.
The tracks include such "standards" as "Nhemamusasa" and "Nyamaropa" and other great traditional tunes, as well as, some variations. The types and tunings of mbira included vary which displays how versatile the instrument is. Mbira has become more popular in a global sense, but these recordings give you a good idea of how it has been passed down from generation to generation in Zimbabwe.
If you haven't heard mbira before, this is a fabulous place to start. Even if you're a seasoned music lover, this one will fit nicely into your collection. I highly recommend this to anyone who likes to expand their ear.

Great, hard-hitting (yet worldly) set from N'Dour & Le Super Etoile. Recorded at Xippi in Dakar, this CD is largely a collection of reworked classics, either expanded upon or stripped back down to their hard-core mbalax roots. Birima, Miss, and the opener Del Teew (a rerecorded version of No More from Eyes Open) all rock, percussion and crazy Wolof accents up front. Two bonus tracks, as well--one old Etoile De Daker fav and one from The Guide. The "short version:" If you're into Youssou at all, you need this recording!

Great, hard-hitting (yet worldly) set from N'Dour & Le Super Etoile. Recorded at Xippi in Dakar, this CD is largely a collection of reworked classics, either expanded upon or stripped back down to their hard-core mbalax roots. Birima, Miss, and the opener Del Teew (a rerecorded version of No More from Eyes Open) all rock, percussion and crazy Wolof accents up front. Two bonus tracks, as well--one old Etoile De Daker fav and one from The Guide. The "short version:" If you're into Youssou at all, you need this recording!

This album contains 8 songs and is 47 minutes long. The recording is fantastic and Youssou's voice is very clear and beautiful. The drums are very alive compared to THE GUIDE and is not overshadowed by synthesizers. Also in this album Youssou sings mainly in his native tongue, Wolof. All of the songs inside are fantastic dance music!

Out of the Soukous CD I have heard - this is the best. I love the CD's of Tabu Ley, Franco, Kanda Bongo Man, Kofi Olumide and the rest - but this CD is the most varied and exciting.
This is great music for dancing - from the first funky notes of track 1 to the end. But there are slower pieces, such as the great Patiance Dambany song. The guitars are indeed the highlight, but that doesnt mean that the singers are not excellent.

This is THE CD that should be among every African music collection.

This album has many strong tracks each with a slightly different flavor of soukous...soaring ethereal guitars, vocals, bouncing beat...great listening music, great dance music...

All soukous is guitar music; what makes this compilation 'Super' is the eclectic mix of guitar talents assembled on one album. Check out the brilliant Nene Tshakou (lead) and Mimi Kazidonna (rhythm) on "Sana", who interweave their guitar lines in typical soukous style. The variety of music featured makes this selection of value to African music lovers who want to explore names and styles from different central and west African countries, though unfortunately it is difficult at present to find other CD recordings by some of the best artists introduced here...Hopefully time will change that.

This is NOT a soukous dance album, but a soulful blend of guitar and vocal mastery. Long live African guitar music.

For anybody who loves Salsa or African music. This guy is unbelievable, an African that can sing Salsa better than any South American ! it's impossible ! You better believe it !
This Salsa is also fused with African influences, as many of the songs end in La Rumba Congolaise style, with beautiful guitar playing and melodies.Also his band Makina Loca (Crazy Machine) has a very talented versatile Cuban arranger in Nino Jesus.
Believe me this guy is not real, he is completely unique ! I am still waiting for his next CD !

This CD presents a magnificent, seamless blend of dance-able Cuban and Congolese sounds (leaning a little more towards the Cuban on most tracks). From the stellar guitar work of Cameroonian guitarist Louis Wasson to the lively flute work of Nino Jesus Alejandro, this album never ceases to please and amaze. Blazing congas, powerful horns, fantastic guitars, and soulful vocals make this music come alive and will get your feet moving!

the music that is presented in this amazing cd is filled with a full spectrum of various cultures. Ranging from hot latin beats to african high-life. This multi-cultural cd will most definately appeal to many walks of life. The name of the cd is Tata Masamba. Alone that song will surely go platinum. Ricardo is a multi lingual artist and excells at grasping the attention of the different societies of languages in which he blows his tune. I personally have been honored to have seen this group perform on many occaions. Not only do they sound great but they also put on an amazing and exciting show.

Fela's music here sounds clean and clear, with just the amount of echo that the masses want to hear, and the horns and vocals are just elaborate and complex enough to tickle the ear. Everything is in a commercially acceptable place, it sounds like one of those records that win Grammies ...

Musically, everything is in the right place. The band is able to maintain long grooves smoothly and effortlessly, and call little attention to themselves while providing smooth/"quiet storm" vibe. Fela uses the vocals and especially the backing vocals, on tracks 1 & 3, to provide complicated patterns that add to the music. The music resembles Fela's earlier music, but more relaxed

His aim here seemed to be to incorporate more African elements into the record (make it just a bit more Nigerian and less Western), and to provide a very well-engineered recording. He succeeded in these aims and produced what is a very fine and satisfying record; all 3 tracks are more or less masterpieces.

Everyone's got their favorite Fela record... For me, there is something amazing about the music he made towards the end of his career, and TDTMN is one of the best. The horn lines got more complex, the band sounds HUGE, the guitars even more intricate, and the beats sometimes slower than earlier (better to feel with your whole body). The production is so clear on this album. A beautiful recording

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!!"

This album is packed with Lucky Dube's own unique style of Reggae music - something of a combination of South African pop and the Jamaican style reggae. Just to listen to this music conjures up lively images of a people with dignity and courage. And then..listen to the lyrics, they are more than thought provoking. Learn from them, they are a lesson to us all - whoever we are! Lucky Dube is a truly remarkable artist!

Simply This is The Best of Lucky Dube...and my Advice to you is..... if you haven't listend to it yet ...then go a head and buy it now...and belive me ..you will never lose your money.....

The thought provoking lyrics, mellow melodies and graceful tunes make this my most precious CD. Lucky Dube is arguably the BEST reggae star. Whether its at a party, at work or driving, the music never gets old and always has the desired effect. A must listen.