Good Good Good Good Vibrations

Brian Wilson is a titan in rock and roll history. He has written some of the best songs of rock music history and has been an inspiration to numerous other writers around the world. For those unfamiliar (which I hope are few and far between), Brian Wilson was the founder of the Beach Boys, an iconic American rock and roll band most popular in the 1960’s but who continue to operate to this day. Wilson battled alcohol and drug addictions as well as mental illness for years and was eventually fired from the Beach Boys in 1982. In 1988, having overcome his many problems, he struck out on a solo career. His records up to 2003 received mixed reviews.

This leads me to my listening choice for today, SMiLE. Released in 2004, SMiLE is the realization of a 37-year-old project. While some of the songs were released on other albums, this record brings together all of the original songs into this dynamic musical that has received the highest score on the Metacritic list.

#1 – Brian Wilson, SMiLE (Metascore = 97)

This record demonstrates Wilson’s endless quest for perfection. He started the SMiLE project back in 1966, but numerous delays as well as his own mental collapse delayed the release of the project. He originally intended for the Beach Boys to release the album, and they did release a few songs in different incarnations, but the album as it was originally intended was never released until 2004. SMiLE is a concept album that tells the story of the birth of the United States, from its British beginnings at Plymouth Rock to the Wild West to Hawaii. Underneath it all is the Beach Boys’ sound, California surf rock, mixed with different sounds and occasionally an orchestra.

The many years between the original creation of the songs until their realization reveals the detail that Wilson spent on the record. He started writing the record shortly after the release of the Beach Boys’ masterpiece Pet Sounds, building off the sounds of the single “Good Vibrations”. The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band, released in 1967, proved to be very important in Wilson’s creation of SMiLE. Had he finished the record then, chances are he would not have been able to realize the dreams he had. Each song is carefully crafted to tell the story, and each song is blended together artfully to feel like a musical. The harmonies are staggering, similar to the harmonies of the Beach Boys in their heyday. Over time Wilson has been able to write this record closer to his vision.

SMiLE is a fabulous record. I needed another listen to it in order to better appreciate what I had heard. Knowing a little more about the project and Wilson, I can understand the reasoning behind its long delay. You can hear that Wilson’s revisiting the project, rebuilding it, refining it, and ultimately releasing it has paid off in a big way. The music is varied but interesting, and the musicians and singers do an excellent job of recording the record. I can totally understand the critical success of this record. There are few, if any, flaws in this record. While the sound may not be for every listener, this listener really has been taken by it.

How Blue Can You Get?

To say Elliott Smith was a morose person would be similar to saying Richard Simmons is an energetic person—it’s a given. Elliott Smith died in 2003 of mysterious circumstances. Some say he committed suicide, but the coroner could not determine conclusively that the wounds were self-inflicted. In any case, Smith was a troubled person who battled alcohol and drug abuse. His music reflected his emotions.

His posthumous release New Moon is the next record on my list I have chosen to hear. New Moon was released in 2007 to generally critical acclaim. The music was culled from the period 1994 to 1997 (between records Elliott Smith and Either/Or).

#173 – Elliott Smith, New Moon (Metascore = 85)

As previously mentioned, Smith was a very depressed person. He pours his heart and soul into his music, which is part of the reason why many of his albums have been critically acclaimed. He also is a creative songwriter and musician – primarily a guitarist but able to play piano, bass guitar, and drums. New Moon’s opening tracks are primarily solo affairs with just vocals and guitars. Smith’s voice to me sounds similar to Duncan Sheik, another pop rock artist. I should also note that New Moon is a two-disc set. To my knowledge, there is not specific reasoning for the track order.

At the time of recording these tracks, Smith wasn’t abusing drugs but was a heavy drinker. However, a lot of his songs made references to drugs, the abuse of drugs, the effects of drugs, etc. He writes autobiographical songs that vary in form from rhyming couplets to stream-of-consciousness phrases (“Looking over My Shoulder”). Another influence that really stands out for me on several levels is Nick Drake. Drake had a similar vocal style and guitar-picking style, and his lyrics could be quite dark.

Since this is a two-disc set, I will limit individual track discussions and focus on the songs I liked. Musically, all of these songs had some element to them that made me like them, whether it was a unique picking style or just the words. For instance, “Go By” musically is a beautiful song; Smith’s ability to fingerpick the bass and treble notes effectively fills the soundscape as he sings about life passing by. “Going Nowhere” features the sweet sounds of a 12-string guitar in a minor key, which almost seems more ethereal. “Thirteen”, which closes disc 1, is a cover of a song by Big Star and is a beautiful cover. The double album closes with “Half Right”, a quiet song about someone who’s not halfway there anymore, maybe not in the relationship he was in mentally or emotionally anymore.

Overall I can say that I enjoyed this record, though at times the moroseness of the songs is overwhelming. Smith was obviously transitioning musically at this point, trying to escape the sound but being challenged by the emotions he was feeling. I am interested to hear how some of the other tunes turn out on his other records.

System of a Down Seeks to Move You

System of a Down has always been for me an alternative metal band. I have never owned their albums, but I have heard numerous tracks from them. Each one I have heard has had similar characteristics: hard, driving guitars; a fast pace; and Serj Tankian’s rapid fire verbal explosions (for lack of a better word right now). I have never really focused on the intricacies of the songs—the lyrics, the individual instruments—until now. I just liked the sound they made.

What I didn’t realize was how varied their sound can be and how interesting lyrically they are. The record I am hearing from them is Mesmerize, which was released in 2005. The album has received universal acclaim amongst critics and actually has a song that won a Grammy in 2006.

#169 – System of a Down, Mesmerize (Metascore = 85)

The album opens with “Soldier Side”, a quiet song whose lyrics provide the backdrop for the rest of the album. The album focuses on the War on Terror and the fallout from its continuation. The song segues into “B.Y.O.B”, which is not about going to a party. The song, which won a Grammy for “Best Hard Rock Performance”, is a vocal outburst against the war and the policies around this war. Musically, the beat is fast-paced but slows down during the verses to set up the message.

I like the vocal interplay between Tankian and guitarist/vocalist Daron Malakian. Each has a unique singing style that meshes well together. Some of the songs’ lyrics (“Cigaro”, for instance) are uninteresting, but the songs are catchy, which makes the album that much more intriguing. “This Cocaine Makes Me Feel Like I’m on This Song” and “Violent Pornography” are other examples of this. The vocal interplay is very evident in these tracks.

“Radio/Video” is about how the record industry promotes bands through radio and television. The song is the most varied by far of the entire album, moving from high-speed thrash to ska-like verses. According to sources online, Malakian wrote the song after thinking about his 5th birthday, marveling over seeing a band on TV, and contrasting this with his current popularity. “Question!” was the second single off of the album and lyrically repeats the same verses and chorus, but the depth of the music (which moves in multiple time signatures and pace) make the song a very poignant song contemplating life.

“Sad Statue” is another favorite of mine from the record. Tankian and Malakian sing about generations apart on the future of the country. One generation doesn’t seem to care about human suffering so long as their liberties are not compromised, while the other generation sees what the other generation is doing as evil, causing this great divide between the two. “Lost in Hollywood” is another strong song from Mesmerize and has a deeper meaning, Malakian singing about his hate for growing up and living in Hollywood and all the phoniness out there.

Mesmerize is an intense album at times, but most of the songs are musically catchy and lyrically deep. The acclaim it received from the press was deserved, as this is a good record.

Grace from a Legend

Emmylou Harris has been recording music (mostly country music) for over 40 years, initially as a supporting vocalist for Gram Parsons to recording her own music. Her most popular period was in the late 1970’s and early 1980’s when she was primarily recording cover songs or supporting other artists (including Linda Ronstadt, Neil Young, and Bob Dylan). Starting in the middle 1980’s she began writing more of the songs that she was recording. Her popularity waned in the 1990’s, but her influence over a new generation of singer-songwriters as she continued to write heartfelt songs and guest on other artists’ records.

The record I am reviewing for this entry is Harris’ Stumbling into Grace, which was released in 2003. Most of the songs on this record were penned by Harris and featured numerous guests.

#95 – Emmylou Harris, Stumbling into Grace (Metascore = 87)

I have heard some of Harris’ other work. I’ve probably been exposed to it more than I know, but I didn’t realize her voice sounds similar to early Stevie Nicks. Sometimes Harris’ voice comes across as breathy, almost “stumbling” to reach the intended note, but in some cases that seems to be the point. The first song, “Here I Am”, employs this style, but she uses it to show that this is who she is, warts and all.

“I Will Dream” is an interesting song. I have read about Harris’ history with Gram Parsons earlier in her career. She mourned him and continues to mourn his passing through song. While I don’t know the nature of their relationship, this song seems to be about him, about losing him and seeing him in her dreams. I suppose this could be about another love lost, but the effect is not lost on how important the person was in her life.

One of my favorite songs on the album is “Time in Babylon”. The song describes (without explicitly saying it) life of sins and temptation in the U.S., the availability to do just about what you want, when you want. She makes numerous cultural references that evoke the ever-present temptations that people face.

In the beginning, I wasn’t taken by the songs on Stumbling. The songs were not as interesting to me as the songs later in the album. However, giving the album another listen has given me a better appreciation for the songs on this album. There are still a few songs that I could care less about (“Little Bird”, “O Evangeline”), but the rest of the album is a good listen. My favorite tracks would be “Time in Babylon”, “I Will Dream”, “Cup of Kindness”, and “Jupiter Rising”. “Plaisir d’Amour” sounds nearly like Elvis’ “Can’t Help Falling in Love” and is a pretty song to hear.

Overall, I enjoyed this record. It’s not one of my favorites, but it is a good record.

Harps, Other Strings and Quieter Things

The next album from the list I have pulled is Joanna Newsom’s Ys. Newsom is a young singer-songwriter whose primary instrument is the harp, though she is also trained to play piano. To date she has officially released three albums, two unofficial recordings, and an EP. She has a soft, high-pitched voice along the lines of Joni Mitchell, which adds to the lyrics and sound of her songs.

#198 – Joanna Newsom, Ys (Metascore = 85)

The first thing I have to remember when I listen to one of Newsom’s albums is she’s telling stories through song. She’s sort of a modern day troubadour. Sometimes her stories become complicated due to her voice making the ability to follow her words a little challenging. Some of the stories are interesting, but the songs tend to be very long. Maybe I have a bit of ADD, but it’s also up to the artist to be able to keep the listener interested.

Despite the challenges sometimes, Newsom is a very talented musician, and her playing is complemented very well by the strings arrangement prepared by Van Dyke Parks (who has worked with numerous artists of many different genres, including Grace Kelly, the Beach Boys, and Silverchair) and recorded by Steve Albini (Pixies and Nirvana, to name a few bands he has worked with). On most of the tracks she is the only one playing, but the detail behind her string picking is very clear and precise as was intended by Parks.

The album begins with the song “Emily”, a tribute to her sister (who also sings background vocals on the song). The song’s lyrics meander all over the place but seem to recall stories and feelings Newsom shared with her sister. “Only Skin” is deep lyrically and musically, a story of two lovers’ lives, how the intertwine until ultimately split by loss. You hear guitars buried within strings and horns and a banjo and drums. She puts a lot of detail into her lyrics, mostly in forms of poetry that it amazes me she is able to recall all of the words. From reading a little about her, she learned to memorize and recite through theater studies in school.

Her style is not necessarily my favorite. However, I recognize the fantastic musicianship and lyricism she has in her music. She utilizes any instrument and/or vocal style needed in order to bring added depth to her work. I believe that anyone that listens to her would be intrigued by her musicianship and sound. This record is not my favorite, but it is a good record and worth a listen if you like quieter, chamber-type music.

Children Running Through

The next album from my list that I am hearing is Children Running Through by Patty Griffin. Griffin is a singer-songwriter from Maine that has been recording for over fourteen years. Her songs have been covered by a few country artists, including the Dixie Chicks and Emmylou Harris. While her sound is primarily associated with folk music, she sometimes drifts into classic soul and rock music. She has a sweet, bluesy voice that complements her musical style.

#99 – Patty Griffin, Children Running Through (Metascore = 87)

Children Running Through starts with the quiet ballad “You’ll Remember”. The second song, “Stay on the Ride”, is completely different. “Stay on the Ride” is a soulful number, Griffin using her soulful side to tell the story about the path that will always take you somewhere. Her voice is really strong here and should have been released as a single. This is a great tune.

Joining Griffin on “Trapeze” is Emmylou Harris, another artist with an album on my list of albums (to discuss later). Harris’ voice harmonizes easily with Griffin’s as they tell the story of a trapeze artist who has gone through her share of troubles and heartaches during her life. This song also should have been a single. “Getting Ready” is the next song on the album, and at this point I have to say listening to her is like listening to Sheryl Crow with better songwriting. Whereas Sheryl Crow started recording a few years earlier and had some good songs early, her songwriting has sort of fallen off in favor of those that are hits and the rest of the album is filler. Griffin’s songs during the album have all been at least pretty strong. You can hear that in the aforementioned songs as well as “Getting Ready” and “Burning Shoes”. Not all of them are winners (“No Bad News”, “Getting Ready”), but they’re not bad either.

“Heavenly Day” was actually one of the two singles actually released from the album, and it is one of the best tracks from the album. Just listening to her sing the words (along with the rest of the lyrics) and you just feel like today is the best day—no worries, no concerns, just happiness. “Up to the Mountain (MLK Song)” was the second single from the album and also is very highly regarded. The song was originally covered by Solomon Burke before Griffin recorded her own version, and it has been recorded by other artists as well. Just as the title refers, the song is about Martin Luther King, Jr.’s famed “I’ve Been on the Moutaintop” speech, which he did before his assassination. The song itself is very inspirational while never feeling overwhelmed by the strings or other background instruments; in a lot of ways, it’s just Griffin and the piano.

Overall, I have found Children Running Through to be a pleasant album to hear. Is it the best album I have heard so far? No, but Griffin’s performance throughout the album is impassioned and beautiful and makes the album definitely worth a listen.

Little Sparrow

Dolly Parton has been an icon in country and bluegrass music for years. She began her career from very humble beginnings and has become an international star. Her career spans both music and film. She is one of the most successful country music artists of all time, having had twenty-five number-one singles and forty-one top-10 country albums, and she has had at least one top-five country hit in the last five decades.

While Dolly has slowed down in terms of original output over the past decade, she has not stopped writing good music. She has released five records in the last 10 years, mostly in the early part of the decade. Her 2001 record, Little Sparrow, gained critical success for not only her songs but the songs she chose to cover. Little Sparrow is the next record on my list.

#144 – Dolly Parton, Little Sparrow (Metascore = 86)

Little Sparrow is mostly a bluegrass record. The record is part two in a three part series of bluegrass records she recorded in the late 1990’s and early 2000’s. This record blends bluegrass, Appalachian folk, and country gospel music. Her backing musicians are mostly known for their contributions to bluegrass music, including Nickel Creek and Alison Kraus. Parton wrote seven of the 14 songs on the record.

The most famous song from this record is actually a cover of the Collective Soul hit, “Shine”. Parton’s version includes Nickel Creek as her backing band. “Shine” won a Grammy for best female country vocal performance. Her vocals combined with the excellent musicianship won over fans and critics. The song is also one of her strongest on the record with excellent vocals and musicians. Other good cover songs here include “Seven Bridges Road” and “I Get a Kick Out of You”. The last song, especially, combines excellent musicianship and good singing.

Some of her original songs are very good. “Little Sparrow” has probably the deepest meaning, but “Bluer Pastures” has probably the best melody. “Mountain Angel” is a beautiful ballad about the life of a woman and trials that she went through. I felt that Loretta Lynn would be at home with this song. Each is a great representation of the styles that she brings into her music. Some of her original songs, however, are not as strong. They’re not bad songs, but they’re not nearly as good as “Little Sparrow” or “Bluer Pastures”. “My Blue Tears” feels like it drags after a verse. “Marry Me”, while popular, has some lyrics that are a bit goofy to me.

Overall I enjoyed listening to this record. Prior to starting this project I had been listening to a few bluegrass records. I really grew up listening to this music, even through rock music runs through my blood more. But I have heard Dolly Parton’s songs for years and years, and her sound is as recognizable today as it has ever been. Little Sparrow is not a perfect record but a good record to listen to if you want to hear some good bluegrass music.

Of States and Aliens (Not a Political Statement)

The next record on the list that I have listened to is Sufjan Stevens’ Illinois, which was released in 2005. Stevens is a multi-instrumentalist, known primarily for playing the banjo. His musical interests span different genres, and he’s been known to shift between styles on his records. He likes to incorporate many instruments into his music, creating a sort of symphonic background to his songs. He also writes in different time signatures, further enhancing the musical experience in his records. He initially began recording on his own label, Asthmatic Kitty Records.

Illinois is his most widely recognized record, having reached #1 on the Billboard Heatseaker Albums list. Illinois was a part of a project where he intended to write an album based on each of the 50 states. This project eventually fell through (perhaps he got bored or felt confined to the material), but this one stood out for its grandiose feeling and excellent songwriting.

#18 – Sufjan Stevens, Illinois (Metascore = 90)

Illinois is, at its core, a folk record, but the scale of sounds runs from just him and a guitar to a symphony of instruments, all of which he incorporates to success. You would think from the start that Illinois will be an interesting record because the first song speaks of an alien invasion. This is just a retelling of a UFO sighting that occurred near Highland, Illinois. Each song incorporates some story that occurred in the state of Illinois. According to some online sources, Stevens prepared for this record reading numerous historical books about Illinois and literary talents from Illinois.

The songs all are different lengths, as well. More than likely this is the result of the topic he is covering, but also the lengths could be used to set up forthcoming songs. But each song, despite its length, takes on its own meanings. “Concerning the UFO Sighting…” is relatively short, but it’s obvious the aliens have arrived and they’re here for assimilation. “John Wayne Gacy, Jr.” was written about the infamous serial killer. Throughout the record there are references to these famous people/places/stories about Illinois. “Decatur” refers to the great debates of Stephen A. Douglas and Abraham Lincoln.

At times this record can seem slow, but I am excited by this record because of the depth of the songs both lyrically and musically. I feel connected to these songs in some way, and the songs feel well written in all aspects. It doesn’t feel forced as some folk records can be, especially when trying to live up to the overwhelming shadows of greats like Bob Dylan and Woody Guthrie. But the beauty of what they did and what Stevens does here is telling stories in a way that bring you in, that make you feel a part of the story.

Having listened to the record a couple of times now, I can understand the high critical response to this record. Musically each song is deep, whether it’s sparse instrumentation or a symphony. Lyrically the songs are superbly crafted and inviting. I enjoyed this record and plan to continue enjoying this record.

Across the Pond: UK Raps by Dizzee Rascal

I have listened to a lot of rap in the past...mostly the rappers and rap groups of the late 1980's and all of the 1990's, so my knowledge of rap in the new millennium is small at best. When I listened back then, there weren't many rappers, if any, that I knew were from the UK. Yet, here in the new millennium there are numerous UK rappers and rappers from other countries that have made dramatic global statements that have crossed over. Such is the case with Boy in da Corner by Dizzee Rascal.

Dizzee Rascal (aka Dylan Mills) is an English rapper from East London. His style/flow is quite a bit faster than the Streets’ Mike Skinner, but not as fast as Ludacris. He brings a different vibe to his songs, too.

Boy in da Corner was released in 2003 when Mills was 18. Dizzee won a Mercury Prize in 2003 for the album. The album has been associated with a genre called “grime”, which is supposedly a mix of hip hop, UK garage, dancehall, and drum & bass. All of these styles are apparent, but let’s just call it rap. Dizzee has even shunned the categorization of his music.

#11 – Dizzee Rascal, Boy in da Corner (Metascore = 92)

The first sounds right off the bat (“Sittin’ Here”) sound like they were pulled straight from an Atari game. Someone I read described some of the songs as containing “ringtone-style tones”, and that is apparent with “Sittin’ Here” and a few other tracks on the album. But maybe this is the point—instead of focusing on the music in the background, he wants you to focus on the raps. Granted, that makes listening to certain songs more of a challenge, but at least I’m not overwhelmed by the digital sounds.

What is interesting in listening to him rap is that his rhymes are well-crafted. His stories (not linked by theme necessarily) are well enunciated and give you a good visual of what is going on. I felt like I was standing next to him while he’s arguing with this girl in “I Luv U”. Most likely he’s referencing his life in his songs, and he speaks about life on the streets, in the home, and just around him. I really like “Fix Up, Look Sharp” (great beat and sample), “Brand New Day”, “Hold Ya Mouf”, “Jus a Rascal”, and others. One thing I have to remember is Rascal was 18 at the time this album was created, so there are elements of being young in every rap, too.

Do I think this album deserves one of the highest scores on the Metacritic list? No. There are some songs where I just did not get what was going on. Rascal’s lyrics and flow may be very interesting overall, but some songs just didn’t work for me. However, I can appreciate why the record received such critical praise. His flow is very good, and he’s able to put together his rhymes in a very creative way.

Stepping into Jazz: Historicity

I must confess that, despite my love and fascination with jazz music, I am not well versed in the artists or songs that jazz artists have performed over the years. I know some of the big artists in the genre: Miles Davis, Louis Armstrong, Charlie Parker, Wes Montgomery, John Coltrane, Cannonball Adderley, Vince Guaraldi, etc. But as far as listening to albums and my knowledge of the songs, I am very weak. I wish I had my friend Charlie’s knowledge on jazz; he was and is knowledgeable on a great many things related to jazz and had a great collection of records. The fortunate part for me in doing this little project is that I will get a chance to listen to some well received jazz music.

Historicity by the Vijay Iyer Trio is a recent entry into the Metacritic list, having been released in 2009. The trio consists of Vijay Iyer on piano, Stephan Crump on bass guitar, and Marque Gilmore on drums. All three musicians are very talented and versatile on their instruments. Historicity is a very interesting record in and of itself, so I am very pleased to provide uneducated remarks about the album.

#82 – Vijay Iyer Trio, Historicity (Metascore = 87)

I did some reading on Vijay Iyer himself, and he has a very impressive resume. First, he has a degree in mathematics and physics from Yale, and he was pursuing a PhD in physics at UC-Berkeley until this jazz career got in the way. He is classically trained to play the violin, but he learned piano by ear through experimenting with different songs he liked. He is a very accomplished composer and has published articles in numerous jazz publications.

Historicity is a fascinating record in that, while he has his own compositions on this record, he also explores compositions from different artists of different genres. For instance, “Somewhere” is a Bernstein/Sondheim composition most commonly remembered for being in the musical West Side Story. The Trio does an improvisational take on the classic, moving within different keys and beats while never really straying from the original tune. “Galang” is a jazz interpretation of rap/avant garde artist M.I.A. and bounces around much like the original track does. “Big Brother”, which was originally by Stevie Wonder, is presented in a way that is reminiscent of raga music. The mix of the original compositions with covered compositions mesh together very well and keep in line with the sound of the record.

Not being knowledgeable, I can’t tell you that something doesn’t feel right. One aspect of jazz, particularly since the release of Kind of Blue, is that the music tends towards improvisation, so while something might seem off-key, it could be intentional. There are not many moments in these songs where I felt bored or confused by the sound choices, but there were a couple. “Dogon A.D.” is not one of my favorite tunes, but it does have some interesting moments.

Overall, I was impressed by this record, particularly by the depth of sounds created by three musicians. Some people like jazz, and some people don’t. Jazz fans will enjoy the interaction between the players and the song choices. Non-jazz fans may find the record interesting but possibly tiring because of the improvisation. I still think the record is very accessible and a good listen.

Welcome to Mali

First, I should explain my being away for a few weeks. I recently took a trip to Great Britain, visited many, many sites, and overall had a blast! London I thought was a very fascinating city and probably my favorite of the trip, though Edinburgh and Bath were also very, very good. I thought about music a lot, especially the music from this country, which has always inspired me or at least excited me. Some of it was good, a lot of it was bad, but I think the bad was the result of the BBC not playing enough good stuff. Or maybe I have it backwards. Either way, I’m back.

Welcome to Mali is an album from Amadou & Mariam, a couple from Mali that has been making music for years. Their music mixes elements of African beats with blues and pop to make it easily accessible. Both Amadou and Mariam are also blind, which makes their music even more inspiring. Welcome to Mali is their 5th studio album.

#109 – Amadou & Mariam, Welcome to Mali (Metascore = 86)

Welcome opens with the single “Sabali”, an 80’s-sounding track with synthesizers, a drumbeat straight from a drum machine, and high-pitched singing (from Mariam). “Ce N’est Pas Bon” brings in guitars, chimes, and Amadou’s singing (backed by Mariam). This is one of my favorite tracks from the album because it feels like it has chants but also because of Amadou’s crisp guitar to back the music. “Magossa” is also a great song with a head-nodding beat to it that adds an oboe (maybe?) and another stringed instrument (possibly the kora?).

While most of the album is centered around Afro pop, numerous other musical styles permeate from the songs. “Djama”, for instance, feels like it came straight from the Bob Marley catalog. “Je Te Kiffe” includes Spanish elements provided by artist Juan Rozoff. “Masiteladi” has distorted guitars and other harder rock elements mixed into an Afro pop beat. “Africa” contains raps from K’Naan; while it is one of their weaker songs (and a lot more sensual), the music is not bad at all.

One aspect of the album that does become tiring is that the songs start to sound the same over time. There doesn’t appear to be any exploration into other keys, and vocally the songs start to sound the same even though the lyrics are different. Maybe this uniformity was intended and there is a theme built around it, but at times the songs can seem monotonous.

“I Follow You” and “Welcome to Mali” are, in my opinion, the two songs that summarize the message they send. They are dense songs with multiple instruments mixed behind Amadou and Mariam’s vocals. Overall, the record is a solid record. The songs are fairly catchy (despite their monotony) and is a great introduction for someone that has never heard their music before.