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World 2008: Beyond The Horizon

PostPosted: Fri Apr 11, 2008 5:23 pm
by Spartacus
Any news, thoughts, movement on this Charlie?

Re: World 2008

PostPosted: Wed Apr 16, 2008 11:49 pm
by Charlie
Spartacus wrote:Any news, thoughts, movement on this Charlie?

Each year I'm convinced that this will be the last, that I won't find a company prepared to do it again, but Warner Classics & Jazz has taken the plunge for the third time. EMI did the first four, Wrasse the next two, so this will be number nine in the series (not counting two earlier albums for Polygram's Debutante label: And The World's All Yours (1996) and And This is the World Calling (1998)).

The wish list went out a few weeks ago. 21 owners have already said OK, two tracks were denied, and about ten labels didn't reply first time around. But on being chased up today most of them have said 'oops, sorry, very busy, lost your email, yes, of course', so it's looking likely there will be a quorum of enough tracks to make another double CD.

The next stages are: sorting out the order, then mastering, then writing the sleeve note. We have a picture for the front of the sleeve.

Release date should be mid July, ahead of both WOMAD and the Award Winners concert for the BBC Radio 3 Awards for World Music, to be staged at the Albert Hall as part of the Proms on 30 July.

For the past few years, Union Square released a double album of all the nominated artists for the Awards, but they dropped the ball this year so there will be only one non-generic compilation of current world music.

PostPosted: Thu Apr 17, 2008 9:12 am
by Spartacus
Excellent news. :-)

Well not about the Awards one, but yours.

Due out mid July

PostPosted: Wed May 28, 2008 12:00 pm
by Charlie

Due out mid-July in the UK, on Warner Classics & Jazz

Seq - Artist - Song title - Album - Country
CD One
1 - Kobo Town - Abatina - Independence - Canada/Trinidad
2 - Almasäla - Els Nens Sense Memoria - Eolh - Spain
3 - Justin Adams & Juldeh Camara - Ngamen - Soul Science - UK/Gambia
4 - Manu Chao - Me Llaman Calle - La Radiolina - France/Spain
5 - Soha - C'est Bien Mieux Comme Ca - D'ici et D'ailleurs - France
6 - Melingo - Julepe en la Tierra - Maldito Tango - Argentina
7 - Yasmin Levy - Una Nocha Mas - Mano Suave - Israel
8 - Toumani Diabaté - Ishmael Drame - Mande Variations - Mali
9 - Simphiwe Dana - Bantu Biko Street - Bantu Biko Street - South Africa
10 - Gert Vlok Nel - Beautiful in Beaufort-Wes - Beautiful in Beaufort-Wes - South Africa
11 - Youssou N'Dour - Dabbax - Rokku Mi Rokka - Senegal
12 - Feryal Öney - Aynali Körük - Bulutlar Geçer - Turkey
13 - D.J.Dolores - Cala Cala [feat Isaar] - 1 Real - Brazil
14 - Shantel vs Roma Hartnel & DJ Click - Inel Inel De Aur - The Edge of Heaven - Germany/ Romania/France
15 - Jorge Drexler - Disneylandia - 12 Secundos de Oscuridad - Uruguay
16 - Dengue Fever - Sleepwalking through the Mekong - Escape from Dragon House - USA/Cambodia
17 - Zulya - Beyond the Horizon - Elusive - Russia/Australia

CD Two
1 - Awadi - Sunugaal [feat Kirikou] - Sunugaal - Senegal
2 - Nancy Ajram - Baddalaa Aleyk - Ah W Noss - Lebanon
3 - Sevara - Kunlarim Sensiz - Sen - Uzbekistan
4 - Rajery - Mandehandeha - Sofera - Madagascar
5 - Massukos - Niassa - Bumping - Mozambique
6 - Fósforo - Musquito (DJ Rupture Mix) - DJ /Rupture: Gunpowder - USA
7 - Axel Krygier - Dónde estarás hermanitta - Zorgal - Argentina
8 - Orchestra Baobab - Ndéleng Ndéleng - Made in Dakar - Senegal
9 - Madilu System - Jalousie (Horizon edit) - Le Humeur - DR Congo
10 - Fufü-ai - Cha Cha - Petite Fleur - Spain
11 - Le Trio Joubran - Laytana - Majâz - Palestine
12 - DeVotchKa - Undone - A Mad & Faithful Telling - USA
13 - Ersatzmusika - Beside Myself to You I came - Voice Letter - Russia/Germany
14 - CéU - Bobagem - CeU - Brazil
15 - Burkina Electric - Mdolé - Rêem Tekré - Burkina Faso/USA
16 - Dadawa - Passing By the Earth - Seven Days - China
17 - Lucky Dube - Slave - Greatest Hits - South Africa

A Scotsman writes

PostPosted: Thu May 29, 2008 9:25 pm
by Gordon Neill
Lookin' good, lookin' good. A nice mix of stuff I love, and tracks that I haven't heard at all.

Only gripe: I had been hoping that 'Pana Candnute' by DJ Click and that Romanian opera singer, Leontina Vadura, would be there. I love that track, but I'm still not sure about shelling out for the whole album it's from.

PostPosted: Fri May 30, 2008 8:02 am
by Gordon Moore
Excellent, I'm raiding the money jar right now...

Re: A Scotsman writes

PostPosted: Fri May 30, 2008 10:20 am
by Charlie
Gordon Neill wrote:Only gripe: I had been hoping that 'Pana Candnute' by DJ Click and that Romanian opera singer, Leontina Vadura, would be there. I love that track, but I'm still not sure about shelling out for the whole album it's from.

Yes, that was a quandary. Having chosen the Shantel remix of DJ Click's track with Roma Hartner, which is rhythmically quite similar, I was faced with the option of dropping it in favour of this, or holding back 'Pana Candnute' till next year. As I wanted to give another plug for the excellent film The Edge of Paradise, on whose soundtrack album the Shantel remix appears, I stuck with my earlier choice.

PostPosted: Sun Jun 01, 2008 12:25 pm
by judith
This is wonderful. Dengue Fever (I could play "Sleepwalking through the Mekong" on loop for an hour), Le Trio Joubran (was so taken by that track in the last radio show and glad to see it on the compilation)...Zulya, Yasmin Levy...Lucky Dube, Orchestra Baobab, DeVotchKa. I do think your selection this year is truly "Beyond The Horizon", Charlie. About the time one starts thinking things like "is that all there is?" you come up with a selection like this - a couple of little discs I can listen to for hours as well as hand off to anyone of any age or musical taste and experience who feels stuck in what they've come to assume 'is all there is' being played and recorded. Thank you so very much for continuing what has become an invaluable contribution to the archives of 'world music'. For one thing, it is so interesting to listen to your cd's and trace the directions the music has traveled since you began your compilations. For another, I admire your taste in music. It travels the horizons of time and place very well.

PostPosted: Mon Jun 02, 2008 2:08 pm
by Charlie
judith wrote: your selection this year is truly "Beyond The Horizon",

You gave me the start by mentioning the Zulya track in connection with this series, even though it had not been included yet. So I listened again, played it on the World Service and thought it should be on this one.

Zulya herself was bemused that I would want to take something from an older album - why not from her latest? And then, when she saw she had the last track, she was concerned that nobody would get that far. I reassured her that some people would want to hear the song that had given the album its title.

UK release date is 7 July

PostPosted: Sun Jun 08, 2008 2:10 pm
by Ian A.
Played it on a long car journey yesterday - very enjoyable, and gave rise to some interesting reflections (since half the time I didn't recognise the tracks so didn't know what I was listening to)

- that it's the most coherent stylistic whole of the series so far that I can remember, linked by very many of the tracks featuring an interesting female voice with no particularly definable song but very catchy, sometimes unusual arrangement structures to give them their appeal.

- that there are obviously so many of those kind of records being made, they ought to have a genre name (for example, as happened with trip-hop). Any ideas, or do we have to get 19 smartarses into a room above a pub to dream one up?

- that it's the furthest away from the "world music" mainstream of the series so far (sounds of applause from south of the Thames, no doubt)

- that our fRoots 31 I've just sent off for mastering is probably going to be the one Charlie likes least of our entire series so far! But vive la difference; what would be the point of duplicating?

Continental Drifter

PostPosted: Sun Jun 08, 2008 11:29 pm
by CantSleepClownsWillGetMe
Ian A. wrote:- that there are obviously so many of those kind of records being made, they ought to have a genre name (for example, as happened with trip-hop). Any ideas, or do we have to get 19 smartarses into a room above a pub to dream one up?


Or is that too much like sandal .....?


Inconsequential drifting

PostPosted: Mon Jun 09, 2008 12:28 am
by Gordon Neill
'Flip-flop' sounds good to me. But I'm still not clear what it is we're trying to define. For instance, would the term include Joe Turner's 'Flip, Flop and Fly' or Johnnie Taylor's 'Toe Hold'?

As an alternative, what about 'chewed bark poultice' (or, more simply, 'poultice pop')? Or is that already the name of some 60s hippie band?

PS Incidentally, the word "poultice" comes from the Latin puls, pultes, meaning "porridge." Up here we eat the stuff but, apparently, every one else just slaps it on sore bits of skin. No, it's OK. There's no need to thank me.

PostPosted: Mon Jun 09, 2008 5:27 pm
by Charlie
The sleeve note:

As recently as two years ago the driver of the minibus on our front cover would double as DJ, playing home-made compilation CDs to provide a communal experience for everybody in the vehicle. But now, most passengers are no longer interested in his selection, having jammed on headphones and shut themselves off, cocooned in the random shuffle of their own downloads.

So, is an album such as this redundant? Well not yet, because many of these tracks are hard, maybe impossible, to find as downloads. And even if you could hunt them all down one-by-one, we’re hoping that there is still, and always will be, a place for a particular sequence in which each track seems to enhance the experience of listening to its neighbour.

As with the previous eight albums in this series, all the tracks have been road-tested on one of my radio shows, currently on the BBC World Service (broadcasting worldwide) and BBC Radio 3 (networked in the UK). Many aroused comments in emails or in messages posted in website forums, others just seemed to belong here. As usual, several countries wound up with multiple artists – triples for Senegal, South Africa, Spain and United States, doubles from Argentina, Brazil, France and Russia.


Trinidadian songwriter and lead singer Drew Gonsalves has lived in Toronto since he was eight but, like several other émigrés on this compilation, only as an adult did he began to appreciate what he had left behind. Kobo Town is named after the neighbourhood in Port-of-Spain, Trinidad, where calypso was born and where (as the group’s website put it), ‘sticks and stones, songs and verses clashed with the bayonets and batons of colonial rule’. Like most of the songs on the album Independence, the story of ‘Abatina’ could be the plot for a full length feature film.

The intro to ‘Els Nens Sense Memoria’ by Almasäla feels so familiar, it might have been a hit on pop radio. But only in our dreams. Barcelona-based Paloma Díaz was one of two female singers on Vengue, the first album by Ojos de Brujo, before setting out to explore parallel ways to combine flamenco, rock and rumba with whatever else might fit. The collage works particularly well in ‘Els Nens Sense Memoria’, sung in Catalan on her debut album Eolh.

When Justin Adams and Juldeh Camara describe how they met, they both exude a sense of wonder. Is there such a thing as inevitable fate? Justin has long been recognised as one of the few British guitarists able to adjust the tones of their guitars when collaborating with African musicians; Juldeh is a Gambian griot who spent several years in England searching for an unconventional context to showcase his powerful voice and traditional instruments. A satisfying collection of songs that grows stronger with time, their album Soul Science looks set to become a landmark classic to sit on the shelf next to Talking Timbuktu by Ali Farka Touré and Ry Cooder.

Manu Chao is hard to pin down, and not just because he spends half of his time in Paris, the other half in Barcelona, effortlessly switching from French to Spanish with a little English in between. On the one hand he is the energetic punk rocker inspired to form his own band Mano Negra twenty-five years ago after hearing the Irish group Stiff Little Fingers; on the other, he’s the more reflective, mature singer of tuneful songs with acoustic instruments. ‘Me Llaman Calle’ is among its more gentle songs on his most recent album, La Radiolina, and was also included on the soundtrack of the Spanish film, Princesas.

Soha is the latest in a line of impressive female singers based in France whose music has reached out far beyond its borders. Her mother’s family roots can be traced back through Algeria to southern Egypt, but Soha grew up listening to singers from the West and her album D'ici Et D'ailleurs fleetingly evokes Billie Holiday and Madeleine Peyroux before establishing her own distinctive and attractive tone.

Argentinean Tango music has never been the same since The Gotan Project turned it inside out in 2002, subjecting its songs and rhythms to the dub techniques of reggae production. Although he’s a protégé of Gotan’s Argentinean member, Eduardo Makaroff, the approach of Daniel Melingo on his album Maldito Tango is less concerned with production methods than with concepts and ideas. Adopting the persona of a cabaret entertainer, Melingo dons a trilby and a broad-shouldered suit and grabs our attention by growling, joking and cajoling.

Some singers achieve more by holding back their emotions than by using all their power. The most effective tracks on Mano Suave, the latest album by Israeli singer Yasmin Levy, are those where she keeps us in suspense, never quite going to the very edge. Sung in the Ladino language of Sephardic Jews exiled from Spain in the 13th Century, ‘Una Noche Mas’ features the Paraguayan harp of Kike Pederson, whose cascading melodies provide a perfect frame for the song – just as the album’s producer Lucy Duran intended.

Conduct a poll among connoisseurs of electric guitarists to find out who is the greatest living exponent and they’ll name a dozen contenders. Ask an equivalent panel of West African music experts to name the greatest kora player and the answer is liable to be unanimous. Everyone agrees, the Malian maestro Toumani Diabaté is incomparable, whether as an accompanist, composer or solo player. ‘Ismael Drame’ is from Mandé Variations, Toumani’s first solo album since Kaira, his precocious debut 21 years ago.

Like every other music enthusiast, I have numerous ‘deaf spots’ – styles and instruments that cause me to come out in a rash and have to leave the room. One of them is a certain kind of electric keyboard that brings to mind hotel lounges and gambling casinos. A cursory listen to The One Love Movement On Bantu Biko Street by the South African singer, Simphiwe Dana, drew a blank, but a more attentive listener pointed out the gem hidden near the end, the album’s title track. Simphiwe is a wonderful singer, the arrangement’s majestic and if there’s an electric keyboard involved, it’s obligingly discreet.

The arrival of an album by an Afrikaans singer did not exactly set this listener’s pulses racing, and I confess to setting aside Gert Vlok Nel’s Beautiful In Beaufort-Wes until a newspaper article aroused my curiosity. The impact of the attractive title track was enhanced after consulting the translated lyric and understanding its touching theme, sung from the point of view of a man who once had a long term relationship with a woman who is now married to somebody else. He wonders, does she still remember the experiences they shared?

On last year’s album in this series, Bassekou Kouyate appeared twice, both as leader of his own group Ngoni ba, and as featured ngoni player with Vieux Farka Touré. Bassekou is here again, this time playing on ‘Dabbaax’ from Youssou N’Dour’s album Rokku Mi Rokka, where he is billed as playing the xalam, the Wolof word for his four-stringed instrument. It’s fascinating to hear Youssou in such a different setting, inspired to find a new voice as he meets the challenge of matching Bassekou’s spacey, urgent provocations.

Feryal Öney is one of the vocalists with Kardeş Türküler, a unique Turkish group who rework traditional songs in modern arrangements. In the sleeve note to her solo album, Bulutlar Geçer, Feryal explains that she set out to share the songs of the region of Anatolia where she grew up, and salutes the author Yaşar Kemal ‘who, with his novels, told of the Yörük and Turkmen tribes in their centuries-long rebellions against the decrees of the sultans in order to preserve their tradition, faith and culture and resist forced settlement, became a great inspiration’. So close to Kobo Town’s description of Trinidadian defiance against colonial rule.

Three tracks here are by people who identify themselves as DJs, each with a different approach to making records. Based in Recifé in Pernambuco, in north east Brazil, DJ Dolores started out by adding voices and instruments to programmed drums, but on his third album 1 Real he has become more like a non-playing member of a band, directing musicians in organic recording sessions where everybody plays together. His special knack is to keep the flavour of rural music while bringing singers and musicians into the city. ‘Cala Cala’ features vocalist Isaar, previously heard under her own name on World 2006.

For some of us, the best film soundtracks are those we don’t notice, where the music surreptitiously fits in and doesn’t draw attention to itself. The Edge Of Heaven, directed by Turkish writer-director Fatih Akin, is a brilliantly-acted story with the bonus of a discreet score by the German musician, Shantel. As well as his own delicate instrumentals, and some famous Turkish songs, Shantel includes a reworking of the traditional Romanian ballad, ‘Inel Inel De Aur’, sung by one of Romania’s most successful actresses, Rona Hartner. Paris-based producer DJ Click provided the spacey dub arrangement, which Shantel remixed for the soundtrack.

Even without knowing its meaning, Jorge Drexler’s ‘Disneylandia’ feels like a summary of the themes and intentions of this compilation. A Uruguayan, Jorge wrote most of the songs on his album 12 Segundos De Oscuridad but this one was written by a Brazilian, Arnaldo Antunes. Line-by-line, he cites examples of how we are each connected to a far away dot on the map, as souvenir hunters, business opportunists or immigrants. At the end, comes the punch line: ‘Iraqi children fleeing the war don’t get a visa from the American consulate in Egypt to enter Disneylandia’.

The first time I heard Dengue Fever, I had pulled a CD out of a bag as I was driving and didn’t dare to take my eyes off the road to check what it was. The clanging electric guitars sounded like an American garage band of the 1960s, but then the car was filled with a woman’s voice that seemed to belong to an entirely different record, surely from the Far East. Even better was this atmospheric song. Later research revealed them to be based in Los Angeles, comprising American musicians and a vocalist from Cambodia, Chhom Nimol. Beware: like the group’s name, ‘Sleepwalking through the Mekong’ (from the album Escape From Dragon House) will get under your skin.

A trip to the Sayan Ring Music Festival in Shushenskoye, Siberia, in 2004 had an impact that continues to reverberate. Among the musicians who shared the return journey to Moscow was Zulya Karmalova, a charismatic singer from Tatarstan. Zulya lives in Sydney, Australia, where the album Elusive was recorded with a combination of local and Russian musicians; the haunting counterpoint trumpet melody on ‘Beyond The Horizon’ is played by Stoli Petrovski. The song’s title has become ours too, as we welcome with open ears what was previously unimaginable.

In the title track of his album Sunagaal (Wolof for canoe), Senegalese hip hop star Awadi addresses his country’s politicians: ‘You promised me I would have a job / You promised me I would have food / You promised me I would have real work and hope / But so far – nothing / That's why I am leaving / That's why I am taking off in this canoe / Swearing not to stay here a second longer / I would prefer to die than to live in this hell’.

Driving out of Marrakech in his Mercedes taxi, driver Hicham slips a CD into the player. The opening piano chords are unmistakeable: Supertramp’s ‘Dreamer’. I plead for something else, preferably local. For the rest of the journey, we listen to the hits of Lebanese singer Nancy Ajram, probably the most popular female singer throughout the Middle East and the Maghreb right now. Internet chat rooms are full of gossip about her plastic surgery, but Nancy has a great voice and good instincts in her choice of songs and arrangers. A big hit from her album Ah W Noss, ‘Baddalaa Aleyk’ means ‘I was just teasing you’.

How do you explain the appeal of a particular singer’s voice? It’s hidden in her tone, the bitter-sweet edginess, the imperceptible switch from plaintiveness to insistence, the promises that surely will be kept. The Uzbek singer Sevara insinuated herself into my unconscious several years ago, and reawakens forgotten feelings in ‘Kunlarim Sensiz’ from her latest album Sen.

To play the valiha, the many-stringed bamboo tube unique to Madagascar, requires virtuoso technique for a musician with two hands. So how does Rajery play it so well despite having had one hand amputated? Only he can know what made him decide that this was the challenge he would set himself, as he resolved not to become a victim in anyone’s eyes. We can only marvel as we listen to ‘Mandehandeha’ from his album Sofera.

The leader of the Mozambique group Massukos is Feliciano Dos Santos, the award-winning director of Estamos, an agency in Mozambique committed to raising awareness of water-related health dangers. Through a series of connections that are told in detail at the group’s website, the musicians were invited to come to the UK by Poo Productions, who share common concerns in improving sanitation in Africa. The collaboration brought forth the album Bumping, from which we have taken ‘Niassa’, named after the poverty-stricken village where Santos grew up.

Finding ‘Musquito’ on the album Special Gunpowder by DJ /Rupture, I was fascinated and mystified by the combination of Zimbabwean guitar and Spanish vocal - who is the singer, what is that rhythm? The original recording is by the Los Angeles group Fósforo, whose lead singer Rafi Benjamin can sing in English, Spanish, Hebrew, and Arabic. For his remix, DJ /Rupture (formerly based in Madrid but now a New Yorker) managed to slide a Zimbabwean lilt into the jaunty Cumbia track. It shouldn’t work, but it surely does.

If you lose concentration while listening to ‘Dónde Estarás Hermanita’, you may think it’s finished and you’re now hearing the next track. Just as you’ve pinned down the melody of its jaunty horn section, the song changes tack and a male ensemble chants ‘la da da da’. An adventurous and versatile musician based in Buenos Aires, Axel Krygier plays every kind of instrument, including keyboards and guitars as well as all the parts of that horn section. Zorzal is his third album.

With their album Made in Dakar, Orchestra Baobab returned to the repertoire that made them Senegal’s favourite band in the 1970s and early 1980s. Astutely recorded by Jerry Boys to replicate the ambience of those days, with backing vocals leaking into mics set up for instrumentalists, ‘Ndeleng Ndeleng’ takes us back to another era and yet still belongs to our own; Assane Mboup’s vocal is so impassioned, it never becomes simply nostalgic. As always, the clean, melodic lines of Barthelemy Attiso’s guitar are the trademark of the group’s sound.

Acclaimed by those in the know as one of the best Congolese singers of his generation, Madilu System was lead vocalist on several hits by Franco’s TP OK Jazz in the 1980s. Warm, expressive, effortless, his voice glides and weaves, never bullying, never over-assertive. Many leading Congolese musicians and singers were involved in recording his album La Bonne Humeur in 2007, including the incomparable Nyboma, whose high, sweet voice features extensively on ‘Jalousie’. To the despair of all his close friends and long distance admirers, Madilu System died as soon as this album was finished, and so it has become his unintended epitaph.

Having enjoyed an impromptu performance by a band of buskers in Barcelona, I asked if they had an album to sell. Mariatchi Boogie turned out to be a compilation of over 20 tracks by different artists, including ‘Cha Cha’ by Fufü-ai. Who were they? Was the singer Brazilian? The Mariatchi, I learned, is a bar in Barcelona where Manu Chao sometimes plays, so when he came to perform on the BBC TV show Later With Jools, I asked him about Fufü-ai. ‘It’s a group’, he told me, ‘based in Barcelona but with a French singer called Anouk’. He put us in touch, and in the mail came their album Petite Fleur. ‘Cha Cha’ still stood out.

The more difficult an instrument is to learn and the tougher the training, the greater is the temptation for musicians to prove themselves to be virtuosos. The three oud players in Le Trio Joubran avoid all such traps, leaving spaces for each other as they seek and find sumptuous sounds that touch and please. All three brothers, Samir, Wissam and Adnan, were born in Palestine, but had to move to France for the usual tragic reasons. They spent a year working on the melodies and arrangements for the album Majâz, and their care and dedication is our reward, notably on ‘Laytana’.

‘Father you know where I have been / And you know what I have done / They say that you see everything / So you know I never hurt no-one’. As it becomes clear that the words of ‘Undone’ are those of a man on his death bed; the listener looks around in the hope of finding somebody else equally smitten by them. Nick Urata, the singer and songwriter of the Colorado group, DeVotchKa, explains that they spent some years playing in burlesque clubs, where electric guitars made way for violin, accordion, stand-up bass and the bizarre-looking sousaphone. There are other exceptional songs on their album A Mad And Faithful Telling.

Back in the Communist days of the Soviet Union, people posted messages to each other that were recorded on 10â€

PostPosted: Wed Jun 25, 2008 8:22 pm
by Ray the Red
Alas, one of the disadvantages of being able to easily download music - I already bought about 5 of the songs on this year's SOTW compilation. Oh well.

One of the songs I already got was the Dengue Fever tune, and I really like them. Their song 'Tiger Phone Card' has a great groove.

Anyway, looking forward to buying the disc when it comes out.

PostPosted: Wed Jul 02, 2008 11:24 am
by Charlie
Ian A. wrote:it's the most coherent stylistic whole of the series so far that I can remember, linked by very many of the tracks featuring an interesting female voice with no particularly definable song but very catchy, sometimes unusual arrangement structures to give them their appeal.

the furthest away from the "world music" mainstream of the series so far

Just under half the tracks feature a female vocalist, but I agree that they seem to leave a stronger impression than the men.

A couple of other early listeners also noted that the album features a higher proportion of 'produced' tracks than in previous years. I don't know if this is a fair reflection of what I receive, or if my taste is veering in that direction and I'm unfairly filtering out the more documentary style recordings.

In any case, virtually all the source albums were reviewed in fRoots and Songlines - I haven't gone for many that are literally outside the world music mainstream.

The first track by Kobotown is from an album that wasn't sent out to many people but would have been accepted if it had been; the remix of Fosforo's 'Musquito' by DJ Rupture is a bit of an oddball, but seems to fit nicely enough after Massukos.

I await other verdicts with the usual trepidation.