V.A.

Creative Musicians Vol. 2

(Perfect Toy, 2005)

Unfortunately, I haven’t heard the first installment of this compilation, but I have heard other albums from this particular label and its generally got the goods. About half of this album, though, does need to be absolutely discounted – but that’s the latter portion. Through the first half of the disc there are a number of funk gems that most likely would have never come to my attention otherwise. Jimmy Lynch makes a few appearances on this slab, including the first track during which he is introduced as the “Funky Tramp.” The band is tight and Lynch cranks it out.  Probably the most memorable track on the album comes from a woman named Betty Barnes.  Her track “Momma Momma,” uses the song’s title at the beginning of each line of verse; creating a nice effect. If nothing else her voice is mildly reminiscent of Tina Turner’s and who doesn’t like that? A few instrumentals are worth noting; Ruff Thomas, with handclaps and all entertains on “Give Me Mercy.”  Faruk Green has a remarkable drummer on “Faith,” but the rest of the album falls short of funkentabulous.  Probably, you’d be more satisfied with Roy Ayers’ “Coffy” but who knows?  There’s no accounting for taste.

Hallelujah Chicken Run Band

Take One

(Analog Africa, 2006)

It’s said that mathematics is the universal language. But to those of us that lack that specific kind of intelligence, we’ll settle for music being the intermediary between cultures. Ska bands play stadiums in Japan, German deejays come to the United States and play venues that they wouldn’t consider in the father land. But the discourse involved in the world wide community of musicians and fans is propped up by openness and wonder.

While placing each type of music into a social and geographic context occasionally presents a problem, this posthumous release by Hallelujah Chicken Run Band allows listeners to explore what most likely would be referred to as afropop or afrobeat. Songs touch on sweet repetitive choruses, but also on elastic rhythms that drive dance floors and shake hips.

Unfortunately for the vast majority of Westerners, the knowledge base for understanding how one speaks in Shona or Sindabele is generally lacking. So there really isn’t too much hope for understanding what Thomas Mapfumo is trying to impart to listeners. But again, music itself is a conversation. On “Morembo” a listener may extrapolate that the band is in good spirits by the manner in which the vocalist repeats “Cheba, Cheba” – but that might be incorrect. Ditching second guesses, the overarching feel of the music is jubilant, whether the lyrics reflect happiness or a need for uncompromising change.

There are call and response style slinky pop songs (“Tamba Zimba Navashe,” “Ndopenga”) and the stately, withdrawn horn lines on “Gore Iro.” But what makes afrobeat – and the Hallelujah Chicken Run Band specifically – remarkable is the ability of musicians to adapt different approaches to music in a way that is unique to their own culture.