My cartridge can be prone to sibilance in the first place (as one obnoxious blog visitor pointed out), but usually it is only an issue with certain records and even certain pressings of certain records. So don’t turn the volume too loud or that just might happen. In this case, it sounds as if the hi-hat is in danger of coming loose from the drum kit, flying out of your speakers, and decapitating you on your sofa.
When IGD is present, the distortion is almost always in the forms of high frequency sibilance. As most vinyl enthusiasts have noticed, some records (in combination with some tone-arms and stylii) are prone to “inner groove distortion” where tracking the groove becomes a bit of a problem as the needle moves closer to the inner label, the end of an album side. In fact the centrality of the hi-hat to mark time leads to a technical problem with the vinyl. The main beat is carried out strictly on kick and hi-hat, except for Madeleina which has a few sections where Domingo just rocks the fuck out on the snare. An interesting stylistic point is that the snare drums is barely used at all, being deployed only for fills. Drop the pitch on that drum a little and you would keep today’s club kids happy and giggling in Ecstasy for hours. The drummer Domingo “Salsero” gets extra points for sheer stamina and the ability to fend off painful leg cramps from a pounding kick drum beat that never varies. This particular album was recorded in Paris and released on the Afro Hit Records Discafrique label, with the “executive producer” / label guy / liner note author / redundantly-named man Richard Dick. would not be possible without the vibrant immigrant populations and neighborhoods, whether in Paris, Notting Hill, or New York. It is not my area of expertise but I’ll go out on a limb and say that the popularity of African musics in Europe and the U.S. Every now and then an actual African managed to garner fame enough to work up some ticket and record sales with non-African audiences. For those whose ears were first subjected to the strains of 80s “World Music” it may even seem oddly familiar, because in a way Soukous and Highlife conquered the world in that decade, reaching a global audience, and often being diluted and neutered by European and American pop stars incorporating them into their records. It also showcases one of the unique traits of soukous – about which I know very little so indulge me for a moment: it is a pop style, but one that has limitless patience to show you what it has to say.
The big hit on this record was “Madeleina” which offers a little of the best of everything. The vocals, sung in harmony throughout, are lovely and melodic, even if the melodies begin to seem a little overly familiar by the end of the second side. Languages I can’t offer any insight into the lyrical content or context. This is not to be missed, but since I don`t speak the The guitars intertwine like go-go dancers playing Random crate digging lead me to this gem of early 80s soukous music and aįew others like it. Repair light settings individual clicks and pops taken out with AdobeĪudition 3.0 – resampled (and dithered for 16-bit) using iZotope RXĪdvanced. Vinyl Pro-Ject RM-5SE turntable (with Sumiko Blue Point 2Ĭartridge, Speedbox power supply) Creek Audio OBH-15 M-AudioĪudiophile 192 Soundcard Adobe Audition at 32-bit float 192khz Click There was a compilation Okominiokolo ’93 on Stern’s. Tracks ‘Bo Mbanda’ and ‘Madeleina’ on Island label’s African compilation ’81 brought wider fame played with Les Quatre Etoiles in London ’84, released first UK album Pablo Pablo Pablo ’85 on Globestyle. Played in the 1970s with bands including Kin Bantous, Lovy du Zaire, Groupe Celibithou, Orchestre Kara to Paris to play with Sam Mangwana and the African All-Stars on classic ‘Georgette Eckins’, joined session musicians on Salsa Musique label, playing on albums by Pamelo Mounk’a, Master Mwana Congo, Assi Kapela, and pursued a solo career with albums of fast, sweet soukous: Concentration, Idie, Revient En Force, En Action. (b 1950s, Zaire) African singer-composer, bassist, guitarist. An “International Salsa Musique” production Pabulco Lubadika Porthos – composer, arranger, vocal, guitar, bass Afro Hit Records Discafrique – DARL-019 (France)
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