mudd up!

Ok, so Khaled isn’t the “Rebel of Raï” as this 2-CD set titles itself. Marketing-driven misnomers are rife; we don’t sweat it. Khaled is raï establishment, Khaled is raï king. And the Nascente CDs help explain why. Here as elsewhere, Khaled’s voice is honey, his performances nimble and generous. (For some raï context, check my 2008 piece in The National).

A survey of “the early years” (late 70s – early 90s), Rebel of Raï offers compelling evidence for the awesomeness of ’80s synths and drum machines. Nerdy listeners will enjoy the way various tunes reflect the production values of their times. There’s one glorious acoustic song from the 70s (“Trig Lycee”), and the electronic adaptations that came later, some propelled by brilliant slinky minimalism (“Hada Raikoum”): pitch-bent synthesizer, guitar snippets, Algerian rhythms inside the drum machine, voice. Here’s “Trig Lycee”, the only track on the compilation without a keyboard (cheesy or otherwise):

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Khaled – Trig Lycee (buyable: Other has a nice writeup, Amazon)

Look at it this way: if you don’t mind fruity keyboard lines & occasional studio overproduction, just think of all the music out there that you can now enjoy. Khaled himself sounds great no matter what’s underneath his voice. And so suddenly a huge swath of musical food chain opens up. Another way of saying: If you really like a style of music, you love it, which means you follow it through thick (reverb) and thin. You stick with raï through the 80s and beyond, and you do not frown on Khaled’s 2009 pan-afro-euro-club jams with Magic System. Même pas fatigué…

There are people who stopped liking reggae when Sleng Teng hit (There are people, fewer of them, who began liking reggae when Sleng Teng hit). In fact, thinking about late 80s dancehall may help tunes like this work as a gateway drug to the wonderful world of pop raï. Khaled alongside Cheba Zahouania, a hugely influential powerhouse in her own right:

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Khaled – Lila Ou N’Har (duet with Cheba Zahouania)

I was speaking with Cheikha Rabia in Paris earlier this year, and when I asked about her favorite singer, her face erupted into a smile – the child inside looking out, eyes aglow – “Khaled!” Rabia said. “Khaled! He’s the best”.

Before Khaled was Khaled he was Cheb Khaled, and before that, he was in a Nass el Ghiwane cover band. I would love to hear a young Khaled singing NeG, if the band (“The Five Stars”, I think) recorded any…

His website, descriptively titled Khaled Mania, contains a ‘nostalgia‘ section with mp3s & videos!

“We had to give up Berber and reject French. I said no! I played hooky in all my Arabic classes. Every class that I missed was an act of resistance, a slice of liberty conquered. My rejection was voluntary and purposeful.” – Matoub Lounès

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Matoub Lounes – Attan Ne Mmi

Oud, percussion, lyrics in a language holding fire underneath its tongue. His life work, soaked in lethal politics. We can start the journey by saying: auto-tune-free Berber freedom music.

the metadata for this album ZIP includes a Matoub Lounes facebook page.

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Elsewhere, Mike Davis reminds us that the swine flu issue is not a problem based in Mexico City, but one flowing from places like Tar Heel, N.C. or Milford, Utah – agribiz USA corporate farms and their foreign outposts. “Capitalism and the Flu“.

Although the Mexicans were the first to make songs about it.

 

Cheb Mami as a carrier of modernity (thanks DJ E3!)

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Cheb Mami & K-Maro – Nos Couleurs

I have tried – apparently not hard enough – to find a good source for new Arabic music in NYC. I miss raï! Sheesha bars in Bay Ridge? no problem. Egyptian kebab vendors who make me return to upper-midtown at odd hours to sell me CD-rs & then forget to bring them? Yes. Lemeni bodega owners in Chelsea who tell me all the good music is online, free!, and want to burn me some of it, if only Vista would let them? Sadly, yes. Dusty Lebanese-run cassette shops with Oum, Fairuz, and phonecards? of course. but rai? Not in my path. At least not yet. sigh.

I miss it extra now that crunk has raised/lowered the global synth game stakes! plus, autotune. Nobody autotunes harder than the north Africans.

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Houari Manar feat Mafia De La Rue – Hya

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thanks to everyone who came out for the west coast shows: team hug!

I learned something new on this trip: POWELL’S CITY OF BOOKS. large and independent — no, LARGEST — the largest indy used & new bookstore in the world… simply incredible. ( “rad” as the PDX folk like to say.)

if yr in Portland, I recommend the Atlas party. Find Ez & shout “more reggada!”

[Atlas crew: The Incredible Kid, Anjali, DJ E3]

Three continents in less than a week has left me burning the midnite oil, sipping yerba mate, and falling into deep R.E.M. sleep the moment I sit down in NYC’s shuddering metro system. Naturally, the blog suffers.

But you can expect a grip of print pieces from me in the near future: Fader, Frieze, repeat.

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“We’re just trying to find the greatest next 3 minutes of your life” – a great Observer (Guardian) article on mp3 blogs, in which MuddUp! is featured!

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I’ve been wrapping my ears around lady ‘harp’ music from Peru. Especially Anita Santivañes, totally hypnotic even though it all kinda sounds the same, these intermodulating waves of complicated & repetitive string arrangements falling from cracks in the sky down to a world holding less love than it needs.

Here’s Anita Santivañes from Anita Santivañes vs Anita Santivañes. Guess who wins!

Anita Santivañes – Bebi La Miel de Tus Labios

(heartbreak poetry encoded at 56 kbps, a MuddUp! low-fidelity record!)

& because it is late-nite and late-nite allows for little if any organizational logic, here’s a scratchy old banjo-powered recording of Algerian chaabi great Dahmane El Harrachi that i picked up at the Barbes Fassiphone shop a few days ago, where Sonido Martines took great pleasure in watching the Parisian Arab girls in impeccable makeup make fun of my musical selections.

Dahmane El Harrachi – Khabi Serrak

Nettle covers this tune in fact; this is the first time i’ve heard a recording of it by its original composer.

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speaking of Sonido & cuuuumbia, He’s straight outta Bogota via BnsAires and ON TOUR IN EUROPE RIGHT NOW! AY AY AY! & he’s got some killer CD-r mixes with him… be sure to ask…

Complexe et diversifiée, la méditerranée laisse entrevoir histoires communes et singularités, entre mémoires et enjeux d’avenir.

Oui!

Damien Tallard presents “Espadrille“, a streaming selection of North African music produced and issued on vinyl in Marseilles from 1950 through the 1970s.

Marseilles occupies a special place in my heart ever since i first stepped foot there (the view from the gare!). Partly because it is reminiscent of Barcelona with the horrible tourism aspects removed, partly because it is Maghrebi, partly because of the wonderful people I meet every time I go through, a unique fold in the map… Visiting there its difficult to recommend people specific places to go — Marseilles magic, for me, is non-obvious, not immediately visual, slow-moving and deep, in a sense it is like Madrid, another city capable of being user-unfriendly at first, which blossoms the more time you spend there.

big hugs to Amèlie @ Radio Grenouille in Marseilles for the tip, look for MuddUp! re-broadcasts there soon…

Tallard’s Espadrille post contains tantalizing info — a tangle of streets, a trio of labels, a distributor — that makes me want to learn more & some lovely, annotated album artwork scans.

in BRISTOL, a city chock-full of wonderful people and probably the best musical activity per capita anywhere. Staying at Chez Parasite & digging thru k7/cd shop finds from Paris. On tour you have time to catch up with friends but not yourself. Where was I 2 cities ago?

Paris.

The Barbés neighborhood (Barbés Rochechouart stop on metro line 4) is overwhelmingly male, Arab and North African men men men on the streets, smoking, in silence and talking, with the brisk smuggled cigarette trade jostling Ramadan sweet stalls & bread, roast corn.

this first tune is the Algerian rap equivalent of Killah Priest’s Heavy Mental track. 9 minutes long! avant-gardey news collage to ambient hiphop to beat & snare. from Lotfi’s Double Kanon album. Lotfi is Algeria’s biggest rap star. I understand snippets of the French & Arabic but not not enough to be useful. Commentors? share your linguistic wisdom? I bought this at Etiole Verte on Rue Caplat. they were playing 50 Cent.

I’ve said it before but it’s worth repeating: world music is music with truly global reach. Think U2, Beyonce. So, 50 Cent is one of my favorite world music artists right now. Britney Spears used to make world music, but now she’s just world tabloid. Hmmm… anyhow, here’s what’s popping at the most experimental edge of mainstream Algerian rap.

Lotfi – Batard

 

this next one is scratchily recorded old chaabi, very beautiful, perfect for late night listening (in B’s flat, dark cathedral outline just beyond the window, as you sip rooibos and feel the city go quiet, ease into sleep, cover itself in patchy silence). CD lists his name as El Hadj Mohamed El Anka. Transliterated spelling is slippery however (Hadj M’hamed, El Hajj Muhammad, etc).

18 minutes long! Voice, oud, orchestra, abetted by time-keeping darboukas & tambourines.

this is familiar & dusty in a good way. Dusty: The CD slips into Sublime Frequency style tape hiss/filter weirdness and sudden shifts in quality. Released on Fassiphone, they must have compiled it from time-worn tape reels. Familiar: the song is one of his classics, “suffisent pour nous renseigner sur la grandeur d’un des plus grands piliers de la culture algérienne.” as said in this nice article on him from a Lounes Matoub fan site.

El Hadj Mohamed El Anka – Sobhane Allah Ya L-tif (suite)