What are you listening to right now?

[Otis Westinghouse]

Arcade Fire - Funeral. See Decemberists thread for other's appreciation of this. Playing it for the second time today. I have a feeling I'll be playing it a lot. It certainly grows. Very interesting all round. There seems to be a lot to it. Not music you can pigeon hole easily. Nice looseness about it, it feels very personal and intimate, and with some lovely instrumentation as well as lots of good wig out moments.

[Mike Boom]

My favourite Bunnymen album next to Ocean Rain.
"Show of Strength" "A Promise" "Over the Wall" "All My Colours"...brings back memories of seeing them at Wembley Arena many years ago only just visible thru the dry ice and camouflage, and even the long overcoat brigade dancing like crazy.

[Who Shot Sam?]

Dimanche A Bamako - a terrific new album by Amadou & Mariam, a blind couple from Mali. Little bits of R&B, Afro-funk, street sounds - great, joyous music, with the occasional political edge. "Sénégal Fast Food" and "Politic Amagni" are probably my favorite cuts.

There's a nice review of the album and their New York gig at Joe's Pub in today's New York Times:

Afro-Pop Duo Unexpectedly on the Rise

By KELEFA SANNEH

They are the kinds of rock stars who wear their sunglasses everywhere, onstage and off. If you arrange to meet them at 4 o'clock in the afternoon in a Midtown hotel, they will be wearing sunglasses there, too.

Like many canny celebrities, Amadou Bagayoko and Mariam Doumbia - famous throughout West Africa and lately a fixture on the French pop charts - have found a way to capitalize on their sense of style: They have a deal with Alain Mikli, the French designer of glasses, and wear a sleek, aluminum model of his.

But their fashion isn't simply fashion: for many years, the duo now known as Amadou & Mariam were famous throughout West Africa simply as the Blind Couple From Mali.

On Aug. 2, Nonesuch Records issued an American version of "Dimanche à Bamako," the duo's lovely, fizzy collaboration with the mischievous European producer Manu Chao, which has already been discovered by a surprising number of European listeners: the French have bought more than 100,000 copies alone.

Now American listeners have a chance to hear one of the year's most unexpected rock 'n' roll success stories: a nimble, playful CD that nods toward everything from indie-rock to dance music.

This week the duo made a rare promotional trip to the United States, which ended with a pair of rapturously received concerts at Joe's Pub on Tuesday night. Sometime after 1 a.m. on Wednesday, they began the final encore with "La Réalité," an exuberant Afro-disco track that gives Mr. Bagayoko space to wind his guitar lines around a refrain borrowed from the eccentric reggae producer Lee Perry; from the noise in the crowd, even the two singers onstage must have known that people were dancing. (The duo plans to return to New York next month, for the CMJ Music Marathon.)

Growing up, Mr. Bagayoko, 50, and Ms. Doumbia, 47, feasted on imports. They heard soul and funk and lots of French music, but what seemed to make the biggest impression were blues and rock, some of which they'd get from friends who visited Europe. Comfortably sunglassed in his Midtown hotel, Mr. Bagayoko switched from the French he speaks (and sings in) to rattle off the names: "John Lee Hooker, Led Zeppelin, Pink Floyd." Ms. Doumbia jumped in: "Jimi Hendrix."

In a sense, the duo's music is a celebration of a kind of musical exchange that has swiftly - and, perhaps, happily - become obsolete. These days, a young fan in Mali doesn't have to import Led Zeppelin records from overseas. The country's musicians produce plenty of their own CD's, and thanks to a younger generation of listeners and musicians, Mali now has one of Africa's richest hip-hop scenes. "They listen to much less rock 'n' roll," Mr. Bagayoko said with a rueful smile.

Mr. Bagayoko started playing guitar in the 1960's, and in 1974 he joined Les Ambassadeurs du Motel, one of the country's most popular groups - its ranks included another leading musician, Salif Keita - which played a wide range of genres.

Oddly enough, though, what drew Mr. Bagayoko to rock 'n' roll was a sense of cultural pride: both he and Ms. Doumbia are proud of their Bambara ethnicity, and they say that traditional Bambara music is much closer to the blues than it is to other kinds of West African pop.

In the 1980's, the duo resettled in Abidjan, in the Ivory Coast, and began releasing a series of cassettes and then a series of CD's, while developing their graceful but surprisingly muscular style: a chanted refrain might give way to a chugging guitar riff; a percussionist pounding a djembe might be joined by one of Mr. Bagayoko's serpentine solos.

By the time the group released "Wati" (Universal France), in 2002, Mr. Chao was hooked, and when he asked to work with the duo, they agreed, although not without trepidation about the more chaotic sound that he helped them achieve. "We had a feeling it would be a success in France and Europe," Mr. Bagayoko said. "But we were worried that it would be too strong for Africans. So it was a pleasant surprise when people in Mali liked it, too."

Amadou & Mariam often write simple lyrics full of general - even vague - pleas for peace and harmony, though the music turns these familiar themes into giddy daydreams. It would seem that Mr. Chao nudged the duo toward something slightly quirkier: he helped write and sing the impressionistic lyrics of songs like "Sénégal Fast-Food" and "Camions Sauvage," a light-hearted tirade against dangerous truck drivers.

The two are clearly happy with "Dimanche à Bamako," and with the success it has brought them, which did not come by accident. In Bamako as elsewhere, pop stars tend to be hustlers, too, and with Amadou & Mariam, you get the appealing sense that they've figured out clever ways to acknowledge all their different audiences at once.

Their previous album, "Wati," included "Ilbiwan," a grand and seemingly deeply felt tribute to the Moors of northern Mali. Mr. Bagayoko said it goes down especially well at certain concerts. "When we play that song," he explained, "the Moors stand, they dance." He smiled slyly, and Ms. Doumbia smiled, too. "And they give us money."

Ah. Mightn't it be time, then, for a similar song about the proud - and, let's hope, generous - people of America?

Ms. Doumbia chuckled. "It's coming soon," she said.

[backstabbers]

a UK Dusty Springfield collection, the new Robert Plant "Mighty Rearranger", new Wanda Jackson, new Shanon McNally "Geronimo", Ry Cooder "Chavez Ravine", the Almost Blue bonus CD...

[Who Shot Sam?]

Congotronics.

See here:

http://www.crammed.be/craworld/crw27/e/

[strangerinthehouse]

the Rushmore movie soundtrack and i'm in the middle of the Who's "A quick one while he's away."

You are forgiven!

[bambooneedle]

[selfmademug]

Their demo EP.

[Mike Boom]

The Magic Numbers are on non-stop replay in the Boom household. Such a great great album especially the closer Hymn for Her which is just the most beautiful song I have heard in a long long time.

[Bad Ambassador]

Blur - Think Tank. It's been a while. Some of it is patchy and forgettable, some of it is great, especially the lovely Out Of Time.

Have to partly disagree. For me it's Blur's best album. The 'vibe', if I might use such a hideous word, is adhered to throughout, and after repeated exposure it really got me. Still played regularly, more than other Blur records (most of which I'm also pretty fond of), and I maintain it was one of the albums of 2003 and is in my all-time list.

[Mike Boom]

My favourite Blur album - with "Park Life" close behind.

[Who Shot Sam?]

Ethiopiques, Vol. 4. Swinging funk-jazz from late '60s and early '70s Addis Ababa. Great music - really very hard to describe. I remember EC saying he was a fan of this series. I have three of the discs and they're all terrific.

[Miss Macbeth]

No shit...I am listening to an internet radio station called bootliquor. Its and Americana station...and "Why don't you love me like you used to do" just came on. How cool is that?

[PlaythingOrPet]

Ethiopiques, Vol. 4. Swinging funk-jazz from late '60s and early '70s Addis Ababa. Great music - really very hard to describe. I remember EC saying he was a fan of this series. I have three of the discs and they're all terrific.

I love them! I have vol. 3 and 10, now I'm waiting for some spare cash so I can work my way through the rest of the series.

Currently revisiting:


And I have an early copy of Ladytron's new one, Witching Hour. By far their best yet.

[Who Shot Sam?]

I love them! I have vol. 3 and 10, now I'm waiting for some spare cash so I can work my way through the rest of the series.

Vols. 5,7,8 and 9 sound tasty. I think the series is up to 17(!) discs now. Oops. Make that 19.

[PlaythingOrPet]

Just checked Amazon and Vol. 20 is about to be released! Oh my. #8 and #4 are definitely next on my shopping list.

[Who Shot Sam?]

Just checked Amazon and Vol. 20 is about to be released! Oh my. #8 and #4 are definitely next on my shopping list.

You can save a few bucks by ordering through Allegro Music. About $3 cheaper on each disc. Ah, you're in the UK, aren't you - never mind. Maybe Stern's World Music has them cheap.

[miss buenos aires]

And I have an early copy of Ladytron's new one, Witching Hour. By far their best yet.

What the eff? They have a new album out? How did I not hear about this? Oh, you said early copy. When is it coming out?

[PlaythingOrPet]

You can save a few bucks by ordering through Allegro Music. About $3 cheaper on each disc. Ah, you're in the UK, aren't you - never mind. Maybe Stern's World Music has them cheap.

Thanks, I'll check that out. Maybe they'll be quicker shipping them, too.

What the eff? They have a new album out? How did I not hear about this? Oh, you said early copy. When is it coming out?

Official website says 3rd October. The new single video and whatnot is in the media bit. 'Tis good.

[invisible Pole]

Robyn Hitchcock’s “Element Of Light”.
I hear David Bowie's influence in the first couple of songs.
Good stuff so far.

[bambooneedle]

Mr. Tambourine Man - Bob Dylan.

A couple of my buddies who are not big music fans or collectors have just become captivated by it and it's gratifying to see them reach for my broken up copy of Bob Dylan - Lyrics & Drawings to sing along with it lately. They prefer the original version over the other versions I played to them from the '64, '66, and '75 Live Bootleg serieses and so do I. Since I only have Biograph at hand besides those for now had to pick some the more accesible Dylan at this stage though they got a kick out of some others. Other songs getting played for hilarious alcohol fueled karaoke sing-overs with bottles for mikes are Manic Monday - The Bangles (good ironic whoa-whoa value), Devils & Dust - Bruce Springsteen (look forward to some air harp), Wonderful Tonight - Eric Clapton (moving... ), Angie - The Rolling Stones (we know an Angie and it's just an amazing song) & of course some Kenny Rogers-- The Gambler, Coward Of The County, Daytime Friends... -- which I didn't buy so should have put here instead of on 'recent purchases'.

[BlueChair]

"Her Ghost" by Jon Brion.

I'm so glad I went out of my way to special order Brion's Meaningless album, cause while most of us only know him as a producer, session musician, and film composer, he's also an immensely talented singer-songwriter. Definitely one of my favorite albums of the last ten years.

[Otis Westinghouse]

Like the Boo, Dylan: Tell Me Momma. CD2 of 1966 live (from whence cometh Boo's avatar). I rather like Mr Tambourine man on CD1, and I like all the versions there, especially the 4/4 (as opposed to 6/8) version of Just Like A Woman. Ahhh, 'This is called "I don't believe you", it used to be like that, and now it goes like this'. Pure magic.

[Who Shot Sam?]

Been listening to Sufjan Stevens' latest disc, Illinois and its predecessor, Michigan. The music is so dense and varied - and both albums are so long - that it's taken me a little while to absorb it. In fact, I think it'll take a few more listens before I know exactly how I feel about it, but I think it's fair to say that the guy is immensely talented and not afraid in the least to take massive risks and go his own way. More people should be making albums like this.

It's very hard to describe the sound of these records - I've detected (on Illinois alone) bits of Philip Glass, banjo and other folk instruments, chamber instruments like clarinet and oboe, backing vocals that sometimes sound like midwestern high school choirs, even a quote from The Cure's "Head On The Wall" that must be intentional. The albums are big sprawling musical portraits of the states in question and the people who inhabit - and have inhabited - them, everything from industry to UFO landings to the notorious serial killer John Wayne Gacy (the Gacy song is a thing of beauty about a very ugly subject).

On yeah, the titles are also impossibly long. One example (no kidding):

"The Black Hawk War, Or, How To Demolish An Entire Civilization And Still Feel Good About Yourself In The Morning, Or, We Apologize For The Inconvenience But You're Going To Have To Leave Now, Or, "I Have Fought The Big Knives...""

Highly recommended if you've got a bit of patience and an adventurous ear.

[selfmademug]

"The Black Hawk War, Or, How To Demolish An Entire Civilization And Still Feel Good About Yourself In The Morning, Or, We Apologize For The Inconvenience But You're Going To Have To Leave Now, Or, "I Have Fought The Big Knives...""

And here I was thinking "Joan Miro's Procession Through The Insides Of A Purple Antelope Across A Sea Of Tuna Fish" (Adrian Belew) was long.