The appearance of Penny Penny's Shaka Bundu in the American market is welcome not only in itself, but also as a sign of a larger trend. Five or six years ago, it was clear the music business was going into long-term sales decline, and I was certain that a prime victim of that would be African pop. The established imports of the '80s and '90s would be available as MP3 downloads, but surely new discoveries and reissues would slow to a trickle, if not cease altogether. I'm grateful that that has simply not happened.
Tracks on a new live album of music recorded at the Festival au Desert include performances by Canadian-Indian singer Kiran Ahluwalia (backed by desert blues band Tinariwen), Afropop legend Habib Koite, Timbutku singer Khaira Arby and Touareg rock group Tartit.
Yo La Tengo wouldn't seem to be very rock 'n' roll, given that it's a very stable and long-lasting operation. Since 1991, the lineup has consisted of a married couple — drummer Georgia Hubley and guitarist Ira Kaplan, along with bassist James McNew — and all three play additional instruments as needed. Yo La Tengo has been with the same label, Matador, since 1993. But if the band lacks rock dramatics, I would argue that it knows as much about the modes and manners of rock 'n' roll as anyone who has ever played the music.
Albums made by collections of professional studio players once had a bad reputation with the traditional rock audience. Such works were supposedly arid and chilly — more like the results of a board meeting than the recorded adventure of an organic group of fabulous friends. Some music fans may still feel that way, but they are few. Nowadays, a tight-knit gaggle of session musicians like the Analog Players Society gets points from traditionalists simply because the music is made by flesh and blood.