…and now for something completely different. For me it’s a touch strange how so far the list has been completely dominated by American acts. Seriously, if you read the book it rates the nationality of every act thus far as being from the USA. I noticed this a few reviews ago and so I made a bet with myself which would be the first other country to feature on the list. Seeing that I knew acts such as The Beatles and Dusty Springfield were liable to appear in the early sixties I assumed that the UK would be the first to break the Yankee streak… so appreciate my surprise when I found out the country to do so would be South Africa.My first real exposure to African music was last year with the amazing album Welcome To Mali by Amadou & Mariam, an album I expect to be on the next edition of the list. While it may be a little unfair of me to lump all African music together with Welcome To Mali it’s probably a darn sight more accurate than lumping it all together with the soundtrack to The Lion King. While it may sound ridiculous to draw that as an example it is only because I have had several infuriating conversations with people saying that Disney provided a definitive look on African music (try your hand at Toumani Diabaté and then get back to me).
In the same vein as should be thought of The Lion King soundtrack this album taken as a whole is not exactly a definitive take on the African sound. I say on the whole as the first half of the album is frankly fantastic and filled to the brim with the songs that I had hoped for. This is epitomised by The Click Song (so called as the typical English speaker is unable to properly pronounce the title of Nguqongqothwane). It is of my opinion that there has not yet been a song that can match the sheer wow factor of The Click Song which is over far too quickly. Also in the amazing first half of the album is a more traditional arrangement of The Lion Sleeps Tonight (here titled Mbube) which is given new life when sung as it was originally meant.
However, you then flip over the record (yes it is that obvious where the break is) and suddenly all bets are off and Miriam unleashes The Naughty Little Flea. The logic of this latter half of the album doesn’t escape me at all. This debut album was meant to capitalise on her numerous plaudits from her performances on stage and was meant to catapult her into true stardom. However, when listening to her sing The Naughty Little Flea and One More Dance, which I can already say without doubt is beneath her talent, it drags this album towards mediocrity. Maybe I am being a bit harsh, as so many artists have to make crippling compromises on their major label debut before they can truly let themselves free creatively (such as Nina Simone or Christina Aguilera), but the gambit didn’t work too well.
Before I rate this album I do have to devote some discussion to the worst track on the album. One More Dance. Now here is a song where the logic of it’s inclusion escapes me completely. The constant laughing of whatever random guy they shipped in to perform this duet with her is so off-putting that to me it robbed this album of being given an eight. So if you are to try this album, do yourselves a favour and erase this track before you give the album a listen. It’ll definitely increase your enjoyment of an otherwise great album.
7.5/10
Fab Four:
Suliram
The Click Song
Mbube
Iya Guduza
Another good review there mate. The last paragraph made me laugh.
ReplyDeleteIt's also interesting to see that most of the albums have been American, was the book written by an American do you know? Just wondering who actually wrote it, and what insight they had into other countries music, that's all.
Surprisingly the Americans aren't a majority there. There are probably just as many Brits. The thing is that the musical revolution really did start in America.
ReplyDeleteAs I go along more countries like the UK, Iceland and Canada will become prominant.
Oh fair enough then, and that's a good point (the next two points actually). Thanks for clearing it up.
ReplyDelete