Líos

Even for someone with a fundamentally positive outlook on life it is getting increasingly hard to see the bright side of things. For one there is the depressing news from a country which was for centuries seen as a source, if not fountain, of culture and higher matters, that there has been not just one, but a veritable horde of mentally defective and/or brainwashed voters who have given in the outrageous bribes by a certain politician with a preference for under-age females. And in writing this down I realise how totally absurd and almost fictional the situation in Italy must be for those who have not lost their minds.

But I am sorry to have to report that things in the Netherlands are hardly any better. Three of the four major Dutch banks have had to be 'rescued' by the state, after those in control have made a total mess of it. The old set of 'old boys' responsible for the gross mismanagement are being replaced by a fresh set of 'old boys'. Instead of seizing this opportunity to put an end to the ridiculous remunerations which have become common in banking management circles, and apparently and demonstrably bear no relation whatsoever to the accountability which was the excuse to introduce these in the first place, the prime minister has defended the top salary of the replacements by pointing out that the salary is 'in line with the market'. In the meantime the tax payer is presented with the bill for this financial fiasco. The same sorry sod tax payer who has been conned by previous governments, in times when the economy - in retrospect of course - was booming, into moderate to zero pay rises, under the pretext that - and I quote - "after the sour will come the sweet". Instead of the sweet we are now being forced into accepting the bitter...

All this immoral behaviour has not led to any self-examining or even modesty. On the contrary: the vice prime minister instead has seized the moment to start pointing at the immorality of those bl**dy foreigners immigrants! He has demanded that immigrants should sign a participation contract, - the objective being that immigrants agree on the basic principles of 'our society'. I, as an embarrassed native, would never sign such a contract, unless those who are consistently and persistently demonstrating their total lack of respect for any principles do so first. The net effect of measures like this are exactly the opposite of what they should be, - at least in the words of the politician who proposed this. Instead of ending tendencies towards homophobia and repression of women within immigrant communities it will, once more, acknowledge and legitimise the already not so latent tendencies towards racism and xenophobia within (apparently) large groups of the native community.

And the weather has been crap too.

So to end this easily forgettable month I would like to share with you this third volume of the "El Sonero de Africa" series by Laba Sosseh (and the great Dexter Johnson).
While I recognise this is not the best record vinylwise, and the recordings certainly don't measure up to the modern-day 'basic principles', I just love the unpretentiousness, the imperfection, the down-to-earthness, the no hassles* fun, - which to me make and have made these records (volume 1, volume 2) into evergreens over the last twenty-five or so years.

I'm going to lie down and sing along with these tunes now....

MAG 104

* líos = hassles

Perfect imperfection

I won't kid you: the late Laba Sosseh (he died nearly three years ago) was not the best singer of the latin-tinged repertoire. There were and are others, with better voices, a better pronounciation of spanish, a more latin feel. I remember an album he did in the late 1970s together with Monguito; Laba got vocally plastered by Monguito...

But personally I don't care. I love Laba Sosseh for his imperfection, the way in which he did not betray his roots in an attempt to be a real latin sonero, - in short: for remaining Laba Sosseh.

The album in this post is not his best. Others (like the one I posted earlier) are more likely to be awarded this label. It's also not his steamiest (this award might go to this cassette). And I am not even going to discuss the sorry state of the vinyl.

Nevertheless, it's authentic Sosseh. Recorded in 1977 for Abou Lassisi's Sacodis label, the lp features Laba accompanied by the 'Special' Liwanza Band. I am not too sure why they are special, - perhaps for the lack of horns (or even a tiny sax). But in their own uncomplicated way they are certainly not bad.

With yet two more versions of the Cuban evergreens "Guantanamera" and "El Manicero" (hooray!), a mumbled "Ay Que No", "Prepare Candela" (but I have no idea what he wants us to do after lighting the stove...), "El Guaguanco" (which I am sure he has at one point also combined with "El Manicero"): it's all great.
My favourites are the two last tracks of both sides. But can anyone explain what the title "No Quiero El Son" has to do with the song? I can understand that he would want to shut up to avoid a quarrel with a girlfriend, but Laba Sosseh not liking son...?
To me the top track of this album is "Conjura". It's got it all: great rhythm, nice instrumental bit, uncomprehensible lyrics, an intriguing title, plus Laba Sosseh: perfect!

Sacodis LS 5-77

Virtual Laba

After a winter and spring with a disproportionate amount of cold and (especially) snow, one has a tendency to pine for a touch of warm sunshine. At the moment there is, I am sorry to say, not a lot more one can do. Although already in May, the sun here in the Netherlands appears to have adapted itself to the economic climate....

So, in tune with the times, there is only one thing for it: let's go virtual!
Luckily I only need one thing to conjure up this virtual world: the music of Laba Sosseh.

This is the second of three volumes on the M.A.G. label (and I have posted the first here). Soundwise the first is marginally better, and in general the records on this label are perhaps not up to scratch. But if you are looking for music that will make you sweat instantly, this is it. The record starts with a second version of that Cuban evergreen "El Manisero". This version is very different from the "version Sangomar" on Volume 1, while retaining some key elements, notably the idiot trumpet after 2'22 (who this time appears to be playing from behind the bar...). The trumpet player resurfaces in several of the songs on side A; in the classic "Senegal An X" (after 1'29) he is still behind the bar, but has finished off some - if not most - of the alcoholic stock.

The songs on the B-side feature Dexter Johnson. His sax certainly adds to the level of sultriness. Just a few notes and I am off to search for some ice cubes.

Another track repeated from Volume 1 is "Seyni Kay Fonema", which on Volume 1 was called "Seyni". This is arguably Laba Sosseh's most famous song, and was even covered by Rochereau and his African Fiesta.
"Aminata" is also redone, but personally I prefer the subtle version of Volume 1.

Another favourite is Sosseh's cover of Charlie Palmieri's "Salsa Na'Ma'", - although it is as close to Palmieri original as a packet of chicken soup to chicken.

But all of the songs on this lp are really warm favourites, - and could probably even provoke a virtual heatwave on the north pole....

Disques M.A.G. 103

P.S.: Going by a few singles (which I may post later) I think the orchestra on the A-side is called "Super Conjunto", and the one on the B-side the "Super Star de Dakar".

Sudando

With the promise of improved weather conditions here in the Netherlands, I am mentally preparing myself for a healthy dose of sweltering. And what better way to prepare than with the steamy music of Laba Sosseh, recorded live or under similar circumstances in Dakar, Senegal. With the loose sax of Dexter Johnson.

As I have expressed before (here and here) I just love the ambiance of his recordings. Qualitywise the series on the M.A.G. label, of which this is the first, is certainly not as good as the wonderful CD's on the Dakar Sound label (at least one of those is still available here). But this volume has some classic Laba Sosseh, with personal favourites "Me Voy Pa'l Monte" (a tune which a nasty tendency to stick in my head for days...), "Aminata", "El Manisero (version Sangomar)" (that trumpet..!), "Seyni" (see one of the next posts!), "La Sitiera", and the killer: "Recordando A Noro Morales", - one of those songs that can only be heard with a ventilator at full blast.

Garçon! Get me a cold beer to go with this sweaty music!

MAG 102

Tender Love

I shouldn't be posting this now. It's cold outside, here in Holland, and most Dutch people are thinking about skating and other 'wintry delights'(brrrrrrr).

I prefer to dream away with this wonderful cassette by the Super Star de Dakar, featuring the voice of Laba Sosseh and the sax of Dexter Johnson.

Ahh, that's more like it. I'm getting warmer now.

A little salsa? - Okay.
"Caramelo A Kilo"? - Sure
"El Dengue"? - Let's get wild!
"Tender Love"? - Yeahhhhhhh......

GBC 3816 (new link Nov.10, 2012)

El Sonero

Laba Sosseh is perhaps not the best sonero to come out of Africa, he does have some of the best recordings. And he has inspired and still inspires a great number of other singers.

Examples of these great recordings have been released on CD, notably on the Dakar Sound label.
I especially like the sweaty ambiance of the live tracks.

"El Sonero De Africa" which was released in the 1970s on the Senegalese N'Dardisc label has a very different sound, but still is one of my favorite Laba Sosseh albums. It contains some superb covers of classic Cuban sons (including an near ecstatic version of "Guantanamo"), plus one track ("Mama Yassima") which the sleeve contributes to Laba Sosseh himself, but which -if I am not mistaken- is in fact by Jean-Serge Essous.

Here is the album.