Customer Reviews

Welcome To Mali [2 LP Vinyl w/ bonus CD]

5 star:		(4)
4 star:		(1)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

I really enjoyed the opening tune "Sabali" when I first heard it in Paris and immediately was won.
Damon Albarn pops up as guest producer on this remarkable set by the blind couple Bagayoko and Mariam Doumbia, who have brought the music of their homeland not only to the world, but into the 21st century mainstream.
Beautiful melodies abound on an album where the couple's guitar and vocals are underscored by everything from Europop synth to string quartet and gentle electronica and from French hip-hop to Somali-Canadian rappers.
One of the highlights is the standout "Sabali", in which Albarn adds an electronic backdrop.
Amadou's guttural singing in French and raw-toned guitar animate the surging, Hammond organ-powered "Compagnon de la Vie" while Mariam's disarmingly simple delivery takes on an incantatory quality on the more traditional "Djuru", with tingling kora from Toumani Diabaté, and showcasing Amadou's guitar chimes.
Even "I Follow You", Amadou's potentially corny declaration of love in English, brings an approving smile to the lips.
If the quasi-traditional melodies become slightly monotonous, Amadou & Mariam are by no means the folky ingénues you might imagine. Their use of Western pop influences, such as Eric Clapton and Pink Floyd, to enhance the inherent bluesiness of their traditional Bamana music is entirely conscious.
Of course, there are moments when the record dont quite measure up to its aims.
The collaboration with Somali-Canadian rapper K'Naan on Africa falls rather flat and the whole album is perhaps a little too long.
But when it works, when the album catches light like on the aforementioned tracks and on "Masiteladi" and "Djama", there's an underlying earthy integrity to their music wich will not fail to capture new aficionados.
We are not talking here about 'world music', but about the product of an authentically global pop phenomenon.
It is well worth a listen, before they become too commercial and popular.
Then, after the big party in Washington, DC, with the rich and famous, it will not be a well kept secret anymore.
Rush and buy it.
Mali Koura
The Very Best of Ethiopiques
Mali Music
Wátina
The Garifuna Women's Project

Amadou Bagayoko and Mariam Doumbia have climbed to the pinnacle of World Music. But 'Welcome to Mali', their new CD, is wrongly titled, for with this release, they've made another, more dazzling ascent to an even loftier peak --- this isn't World Music, to be filed in the Mali section. It's music from a very big world, made for everyone in the world. If you buy, download or steal no other music this year, stop right here. This is the one.

This is the one because it's the right idea at the right time: a bundle of joy for a hurting planet. It's so all-inclusive --- "an original East Coast-West Coast collaboration", a rapper friend of theirs shouts at the start of a song --- that you'll have a hard time locating this music by geographic origin. It was recorded in Paris, London, Dakar, and Senegal. It uses traditional African instruments and state-of-the art electronics. And Amadou and Mariam sing in French and English --- not that the words much matter. Right here.] As it starts, you might think you're hearing a scratchy radio broadcast from the 1930s. Then comes the plinking of a ukulele (or is it?). And then Mariam floats in --- a birdlike soprano that may not break glass, but certainly clutches your heart and your attention. Entering the room, balancing her, a French horn (or is it?). And now...but what's this? Dance-hall drumming. Synthesizer runs of electronic notes, up and down the scale.

This is harmonious, joyous music, totally accessible pop that just happens to be symphonic in its power. Its real genius is its accessibility --- it sounds so simple, so organic, that it's like a song you've always hummed (and danced to) in your private happy moments. The lyrics, for what they're worth, support Amadou and Marian's vision of a beautiful world: "La vie est belle avec toi..... je te fais un gros bisou". But even more, they're just sound. (From the lyric sheet: "La llalallallallallalallaalallaa... sabalabalabala bala bala babla.") And those sounds evoke Motown and Phil Spector as much as they do African tribal chant.

But then, Amadou and Mariam have, from the beginning, pushed beyond the music of their country. In their childhood, Mali radio played all kinds of music --- rock, salsa, whatever. After their apprenticeship, they moved to the Ivory Coast, then to Paris, where they recorded with Cubans, Colombians, Indian drummers and "an African playing American-style harmonica". It was probably inevitable that their breakthrough CD, 'Dimanche a Bamako', would be produced by Manu Chao, the musician and producer who has brilliantly melded the music of the streets with delightfully political reggae.

On 'Welcome to Mali', there are instruments you've heard on African records --- a kora harp, a Malian violin --- but you'll find a bare minimum of the chicken-scratch guitar and Mississippi Delta blues sound that have defined their homeland's music. And you'll hear none of the street sounds, ambulance sirens and happy children that made 'Dimanche a Bamako' such a huge, international hit.

'Welcome to Mali' is European, sleek, elegantly produced. It's fun to listen to, and it's even funny --- a song about the African continent describes it like a woman, and Amadou and his rap partner are quite clear they want to explore every inch of her. And, near the end, there's a wonderful joke: the title song. Anyone else might have led off with it. Here it's more like: This is a tour of the entire world, and today, kids, we're in Mali. Like it?

I haven't yet said what's usually billboarded as the key thing about Amadou and Mariam, because after three decades of making music, how much does it really matter that they are both blind? Long ago, I bet, they learned how to translate the colors and shapes in their heads into sound; like Stevie Wonder, they hear so well there's almost nothing Amadou can't play on a guitar and Mariam can't sing.

Those dark sunglasses? Yes, they serve a purpose. They are also seriously cool, a piece of the superstar uniform. And, no doubt about it, with 'Welcome to Mali', Amadou and Mariam qualify as global superstars.

Always on the lookout for new music, my interest was piqued when I saw that this album was one of the highest rated by critics last year, and also that one of my favourite musicians, Damon Albarn was involved. They have previously worked with another favourite of mine, Manu Chao, on other albums of theirs.

Amadou and Mariam are a married blind couple from Mali and "Welcome to Mali" is their fifth studio release. Typically filled with African rhythms, melodic guitars, and performed largely in French and English.

Opening track "Sabali" was produced by Damon Albarn and has a Western feel, swirling synths and electronic effects perfectly setting off the African backdrop. The lovely and rhythmic "Ce n'est past bon" (with nice chiming) and "Magosa" were also produced by Albarn.

Every song is a standout really, but I'll just make mention of a few more tracks to try and describe the feel of this superb CD. The beautiful downbeat "Djuru" features Toumani Diabate playing kora. "Je fe kiffe" features Juan Rozoff and has a Reggae feel, as does "Djama".

"Africa" is quite upbeat and features Somali rapper K'Naan, and amazingly, it turns out very well (with lyrics describing Africa as a beautiful woman). "Unissons nous" features European-based Nigerian guitarist Keziah Jones (his guitar playing has a Hendrix feel) and has an almost live Afrobeat/Jazz sound.

Stupendously beautiful, I highly recommend this to any music lover.

I like this album, although I prefer their last one, which benefited a lot from the production of Manu Chao. Considerable attention has been given to the first cut of this new one, produced by Damon Albarn, and while it's the most pop-oriented track on the disc, and stands out as result, I think it's also the weakest. Whereas Chao burnished what Amadou and Mariam do best, Albarn overwhelms their essential folkiness. If you like what Mitchell Froom did to Richard Thompson in the 1980s, you might like this treatment, but it's not for me. -- the librarian

This is a must have no matter what your music preference is. I listened to the album for a whole month straight and still love it.

This CD is warm, charming and addictive. I liked them since their first album and this one is not a disappointment. I just simple love it and it hooks a wide variety of people, from the rockers to rastas. I'll have this album on in my room and people will pop in and ask what it is. One of the top 10 albums in my collection.

This album has great energy and a rather unique mix of African chant and rock and roll. Unfortunately, the glamour eclipses the talent. It's as if the producers got too carried away with modern technology. Still, I keep this record in circulation.