Madagascar music reviews

I've only known about this band for about 2 months or so. I found out about them while browsing the internet and got interested. They are a rock band that most people have probably never heard of. They offer a sound that I can only describe as similar to limp bizkit. Like Limp? like this!

first of all...i think another reviewer said that this band is kinda like limp bizkit, and i would definitely say that that is not at all true...i would say that they're more like tool/perfect circl...but either way they are really awsome...i saw them live in san diego and they rocked...this cd is really one in a million

If you are a guitar student and really into studying acoustic guitar technique, this may be a five-star CD to you. D'Gary is a virtuoso player from Madagascar, with a truly unique style. Here his guitar playing and vocals are accompanied by a female vocalist and a percussionist. The CD booklet lists the tuning and capo position used on every song. On a couple of songs, there are moments when he uses a "guitar �touff�e" style, a muted sound that replicates on guitar the sound of the traditional Madagascar marovany zither.

For others, this is an album of background music, 3 stars if you've never heard D'Gary before (because he is a great musician and his playing will be an eye-opener), 2 stars if you've heard his other albums. This is the weakest of the four albums I have by him. None of the songs are at all memorable, and the album as a whole is a big letdown after the "Horombe" album. The playing doesn't cover any ground that D'Gary doesn't also cover on his better albums.

This album is a gift. I don't know why some people knock it. I don't rate it any worse than any of his other albums (especially horombe) and I think it's one of his best (along with Malagasy guitar). D'Gary's mastery of the guitar aside, the music arrangements are as complicated (rythmically) and accomplished as anything out there. (Incidentally, for any guitar players, I've been transcribing some stuff and the more deeply I get into it, the more respect i get. There's worlds in his playing.)
The songs are perfect forms for the groups short-but-sweet improvisations. It's always hard to know what's planned on a recording and what's improvised but I saw the trio play last year twice and, except for the basic structure of the song, it's all fair game. D'Gary's built his own personal vocabulary (if anyone can tell me someone who's playing resembles his let me know, I want to check them out) and uses it in the service of something greater. Do I understand the words? Of course not. Hell, I can't even read the french liner notes. It doesn't matter. With D'Gary, I always have complete confidence in him and where he'll take me. And this album is no exception.

For those who associate African guitar primarily with the brilliant Malian players like Boubacar Traore and Ali Farka Toure, the sounds of Madagascar will be a bit of a shock. I was introduced to the works of D'Gary through the compilation album, "The Moon and the Banana Tree," and was amazed at the differences. Where the Malian guitarists seem to have a close connection to the blues, D'Gary sounds like he has been influenced by Spanish classical and Brazilian jazz guitar. The guitar playing on this album sounds a bit closer to Badi Assad or Bola Sete than it does to Ali Farka Toure or Boubacar Traore. The vocals, however, are very clearly African, and those with a passing familiarity with African music will probably compare the vocals to Ladysmith Black Mambazo but with fewer vocalists (a comment a friend of mine made), although the similarity is fairly superficial. In all, D'Gary is truly amazing in his ability to seemlessly incorporate musical traditions from around the world, and to do so while playing some of the best guitar you will ever hear. If you are looking for an uplifting album drawing on all of the traditions mentioned, look no further than this brilliant album by D'Gary. Malagasy music is far too difficult to find in this country, so don't pass this up. For further listening, "The Moon and the Banana Tree," is, of course, a great sampling of Malagasy guitarists, and shows that D'Gary is no fluke-- Madagascar has a number of guitarists in the same vein, all of whom are extraordinary. Also, Henry Kaiser and David Lindley have put out several compilations of Malagasy music well worth owning. Finally, if you like this stuff, Brazilian guitarist Badi Assad's "Solo," and, "Rhythms," albums are must-owns.

This was the first album after Hanitra Rasoanaivo and her sister split off from Tarika Sammy to form Tarika (Malagasy for "group"). The revised lineup continues Tarika Sammy's use of many instruments native to Madagascar (especially from multi-instrumentalist Donne), but with a more rhythm-oriented emphasis. Tarika is a dance band. The rhythms are compelling even though there isn't a drummer per se. Every member of the five-piece band takes a turn on hand drums or percussion. The individual songs just aren't as memorable as on "Fanafody", or on later Tarika albums like "D" or "Soul Makassar". The songs "Taraina", "Bibiango", and "Jejy" are highlights. Ian Anderson of Jethro Tull produced the album.

Characteristic, at the high end of their work to date. Combines the light, bright feel of partying hearty on a Caribbean beach with a connection to something deep, dark, and ancient. Songs tend to feel happy-go-lucky and ritually urgent at the same time (!). Unique string and tuned percussion instruments create Tarika's distinct setting; urgent, communal vocals add a sense of depth and commitment. Tracks typically display quick pace, precision, and discipline throughout. Male-female call and response occurs repeatedly. Strains of Polynesia, east Asia, the Caribbean, Portuguese, and flamenco-very exotic. And so less African than I expected. Many strong tracks.

This is a really good introduction to Tarika's music and a wonderful CD. This first release from the revamped Tarika Sammy features sisters Hanitra and Noro, backed by three extremely versatile multi-instrumentalists. The 13 songs cover a range of topics: childhood games, marital relations, rituals, drought, and the sorrow of parting. Alternately exhuberant, jaunty, rhythmic, melodic, soulful, and lyrical, the voices and instruments blend and weave beautifully. My personal favorites include Taraina (track 3), a playfully upbeat argument between a man and a woman; Jejy (track 10) a song about, and featuring, the traditional Malagasy gourd dulcimer, the jejy voatavo; and the stunning Zanane (track 12), an a cappella number highlighting the singing abilities of the band members. If you already know Tarika from their later recordings, don't miss this opportunity to expand your experience. If you are new to Malagasy music, this is a good introduction.

This album starts with a song of jaw-dropping beauty, "Madagasikara", which any band from any country would be happy to have written. It begins with a solemn synthesizer part and quickly moves into an accordian-based salegy dance beat with massed voices and group hand-claps. (Salegy is a 12/8 beat with the emphasis on the second note in each triplet).

This music was originally the soundtrack to a documentary about Madagascar. While the first three songs are dance songs performed by the entire band, most of the rest is mood pieces. Soundtrack music. Of these, a highlight is "Mitopa", which sounds like the Malagasy equivalent of something Fairport Convention might do.

Dewdrops in the rainforest... an absolute masterpiece; haunting melodies and heartbreaking songs. No need to understand the lyrics here, the message will come across anyway. Also, production-wise this is fantastic, the traditional and modern elements blend together beautifully. This has been one of my favourites for well over 10 years now; the world would be a better place if everyone could listen to this once in a while. Seriously!

All of you out there should know that if you go anywhere a REAL WORLD recording, you are buying something that Peter Gabriel has personally chosen as a favorite for whatever reason he may have. And particularly if you don't like mr. Gabriel's music you might want to steer clear of these records (if you belong to a numbnut fleet of jackasses which unfortunately seem to be invading our world from teenageville or some such place), if you have - on the other hand- a mind of your own, personally I think that Peter has made some amazing choices as to what is music in a Real World sense, and frankly if you haven't then who needs you anyway, the label has (thank whatever entity you suscribe to) survived perfectly whithout the masses flocking to it, so bottom line is Rossy's "Island of Ghosts" is as perfect a representation of its time and place in the world as your going to get and on top of it all of you "professional musicians and reviewers and writers" can just swallow your words!!!

In 1991, guitarists Henry Kaiser and David Lindley brought a digital recording studio to Madagascar and spent 2 weeks recording as many top musicians as they could, sometimes playing along with them. Of all the world music I've heard, the music of Madagascar is by far my favorite, and this series is the best introduction you're going to find. That said, this CD is the weakest of the series--all the best material was used on Volume 1 (a second recording trip was made to produce Vol. 3). The best stuff here is by Dama Mahaleo, who the Shanachie label's liner notes invariably refer to as a cross between Bob Dylan and John Lennon. The tracks by his band Mahaleo, and his flatpicking on "Sambo de Gera", a duet with D'Gary, are splendid. Rossy and Tarika Sammy, a couple of my favorites, are here, but except for Rossy's "Tsihai Akory Atao", these are not among their best songs. Rossy provides a cover of Merle Haggard's "I'm a Lonesome Fugitive", with Lindley singing the lead vocal. Roger Georges provides a salegy, a Malagasy dance beat in 12/8, with the accent on the second beat in each triplet. Sylvestre Randafison, a master of the valiha, a tubular zither with a harp-like sound, contributes the standard "Afindrafindao". The album opens with an accidental project by the recording engineer, who inadvertently taped a test drum machine recording onto a tape of lemur noises, and found they fit in perfect time together. You can't go wrong with any CD in this series, but to develop a proper love of Madagascar's music, go with Volume 1 if you can find it.

It's a nice collection of Malagasy music. I think the traditional harp, the valiha, which I love to hear so much, is more often played in this volume 2 than in volume 1. The two country & western songs come as a surprise, but I suppose that just goes to show that there are "world music" fans everywhere, even in Madagascar!

I would disagree that this is weaker than the first record. This one is more consistent, and it is the one I listen to most often. Both are good, though.

Characteristic female-led communal vocals and spidery Malagasy strings with a wide range of add-ons that vary across tracks. Curious mix of African, Polynesian, Brazilian, and Portuguese musics that often mix to offer high-spirited party music, but rarely reach the driving dance groove of zouk or disco. More warm and breezy than hot and high-stepping. Political heat arises more often than sexual heat. These dances usually float on the breeze lightly enough to go on forever, cruising in sync with some deep undulating spirit that sustains a warm buzz. CD offers a mix of Tarika originals with what are apparently classic, popular dance tunes from Madagascar. Stand-outs: tr 9-Ditra (original driving dance with a steely core and a cool fiddle-horn bridge). tr 13-Sanadera (original, anthemic social dance whose settings continually morph as it drives on).

After having San Egal as one of my favorite albums. I special ordered "D" obtaining a used copy. I was sorely disappointed. It does not have the same rythmic characteristics of previous albums.

To me. "D" is for dull or disappointing. Save your money and get an earlier Tarika album.

This is the only Tarika album I've heard and I love it. The sound is rich and detailed, the rhythms and arrangements fascinatingly complex and there's lots of joy and energy. The musicians in this band are highly skilled and supremely confident, and there's quite an array of colourful instruments used. They obviously enjoy what they do, and so do I.

Welcoming Home The Astronauts was such a good album. I dont know how they go from that to this. There isnt a single song on this EP that even comes close to anything off of WHTA.

Songs like "blue" and "miss missing you" are so slow and boring that your bound to fall asleep before their done. "All We Are Is Gone" is Flickersticks attempt at being Pink Floyd. But once again you have to sit through another slow and boring song. The track is almost 7 minutes long and Cory finally steps up for the last minute and does a floydish sounding guitar solo. It livenes up the song but unfortunatly it comes 6 minutes too late. The other 3 songs rock a little more but they sound more indie than anything the band has done before. Once again these songs are still not up to par with anything from WHTA.

I really hope this isnt a sampler of what to expect for the next album. These guys have a lot riding on their next album. WHTA never really took off like I expected it to. Im sure even EPIC thought they would take off. Unfortunatly if their next album doesnt sell they will probably get dropped from the label. They got a lot to prove and putting out more songs similar to this EP is not going to earn them mass success.

With "To Madagascar" Flickerstick are reinventing themselves in a market swamped with pop. Traditional vocals from singer Brandin Lea are somewhat something of the past except for the raspy singing on ballads like "Miss Missing You." This cd is without a doubt powered by heavy hitting guitars, thick bass lines, and a whole lot more electronic work than in the past.
"Girls and Pills" and (what could easily be a major single)"Tourist" may not give immediate gratification, but eventually become the ones you'll play (and sing) all day long. Those missing a tradional Flickerstick sound will appreciate "All We Are Is Gone" as their new "Direct Line." Rock on boys!

...these guys are so real to me. They Rock BALLS! Fierce and Uncalculated. No one better demonstrates the Band on the rise mentality: They sound great, especially if you have ever liked anyone cool like Ride,Verve, or P.F.. And they all have cool names. Brandon - is the singer, and is outstanding. Fletcher plays base - Cory and Rex are the guitar players (and let me tell you...) Dominic is the drummer. Get to know them - they'll let you. They're from your own neighborhood. But so unexpectedly talented. There focused only when they're playing ("thunder only happens when it's raining".) If you really listen, they will knock your socks off.

Sisters Hanitra and Noro joined Madagascar band Tarika Sammy's Sammy and Tiana for an international touring lineup, but after the great "Fanafody" album, Hanitra and Sammy began fighting for control of the band. The inevitable breakup seems to have occurred between the recording of "Balance" and its release. Hanitra and Noro later hired a new band and became simply "Tarika". The album splits the difference, calling the band "TARIKA sammy". The liner notes call Hanitra "now the acknowledged leader", but they're uncredited and were probably written by her.

"Balance" is better than early Tarika albums "Bibiango" and "Son Egal", not as good as "Soul Makassar", "D", or "Fanafody". Sammy has always tended more to melody and acoustic instruments, Hanitra to rhythm. Her influence shows up here in songs like "Roba", "Bekily", the Malagasy rap of "Jijy", and "Ventso". The latter blends the two styles the best, alternating a rhythmic sing-song with delicate acoustic guitar passages. Other good songs include Sammy's "Mila Namana", Hanitra's "Hendry", and the Levelo tune "Jono". This is a 3-1/2 star album; I'm rounding up. The album was produced by Ian Anderson of Jethro Tull fame, who has always been sort of a mentor to Tarika.

(1=poor 2=mediocre 3=pretty good 4=very good 5=phenomenal)

In Madagascar, Dama Mahaleo is said to be the equivalent of Bob Dylan and the Beatles rolled into one. He is also an expert in finger-picked guitar, in the manner of Merle Travis. This is a French recording of a live concert by his band, Mahaleo. The band has several vocalists; the instrumentation is mostly guitar, with an occasional song on kabosy (a small Malagasy guitar with a mandolin-like sound). The songs "Ramiaramila" and closer "Tongava Re" alone are worth the price of the album. This rendition of "Tongava Re" is much better than the one on the Dama & D'Gary "The Long Way Home" CD. The songs "Sambo de Gera" and "Ambahikily" are also highlights. Mahaleo is not a dance band, like Tarika or Jaojoby. The music is more subdued; in fact, a sequence of three ballads in a row near the end makes the pacing a little strange for a live album.

This is a 1993 album by Madagascar legend Dama Mahaleo, NOT an album by the rap-metal band Dama. This is a Dama solo album; while he's backed by a band, it doesn't appear to be Mahaleo. There are no musical credits, except for a couple of special guest appearances. Dama plays his trademark guitar and kabosy throughout, and sings lead vocals on all but one track. The song "Aza Manadino Anay" is jaw-droppingly gorgeous, asking the Malagasy politicians to remember the people they represent, and the album would be worth it for this track alone. Other highlights are the salegy "Taxi Brosy", "Voasary", "Dihy" (with a guest appearance by Rakoto Frah on flute) and the ballad "Nahoana Kay". The musical style tends to soft rock, and isn't as energetic as Malagasy bands like Tarika or Rossy. Some of these songs also appeared on other early '90s albums: "Voasary" and "Aza Manadino" on the Dama & D'Gary "The Long Way Home" album, "Voasary" on the Mahaleo "En Concert" album, and "Dihy" and an earlier version of "Ambohikobaka" on the first Kaiser-Lindley "A World Out of Time" album. These are not the same recordings, though.

(1=poor 2=mediocre 3=pretty good 4=very good 5=phenomenal)