Robert Christgau: Dean of American Rock Critics

Consumer Guide:
  User's Guide
  Grades 1990-
  Grades 1969-89
  Expert Witness
  Is It Still Good to Ya?
  Going Into the City
  Consumer Guide: 90s
  Grown Up All Wrong
  Consumer Guide: 80s
  Consumer Guide: 70s
  Any Old Way You Choose It
  Don't Stop 'til You Get Enough
Xgau Sez
  CG Columns
  Rock&Roll& [new]
  Rock&Roll& [old]
  Music Essays
  Music Reviews
  Book Reviews
  NAJP Blog
  Rolling Stone
  Video Reviews
  Pazz & Jop
Web Site:
  Site Map
  What's New?
Carola Dibbell:
  Carola's Website
CG Search:
Google Search:

Consumer Guide Album

Francis Bebey: African Electronic Music 1975-1982 [Born Bad, 2012]
I first encountered this genial Camerounian savant via his pioneering if romantic 1969 overview African Music: A People's Art. But though I knew from the book jacket that he'd worked for UNESCO and published novels, the albums that trickled my way--sanza exhibit, wan protest songs, retrospective miscellany--seemed too schematic musically. So I never grasped that this public intellectual was a successful creator of singing commercials and African hits until this conceptually cockamamy attempt to stir up the hipsterati by linking songs notable for their jingle quotient to electronica. Created on a primitive synthesizer in Paris, they're above all winning and catchy, their sonics almost as quaint as thumb piano by now. Though half are also on La Condition Masculine, which is generally deemed Bebey's best album, this selection is hookier from the just-released "New Track," whose subject is white starchy foods, to "The Coffee Cola Song," whose subject is the cash economy. Dieu merci, both are in English, which helps the French ones fit in--the instrumentals too. And "Divorce pygmee" and "Pygmy Love Song" have it both ways, clarifying between them the bemused respect with which this cosmopolitan Protestant regards his native continent's profusely musical peoples. A-