A Cup of Sugar from Twist and Shout

Once a month, our Colfax neighbors and we "cross-blog", because books and music are important to us all. We call it "A Cup of Sugar".

Their blog can be found at twistedspork.blogspot.com.

Etoile de Dakar - Once Upon A Time in Senegal - The Birth of Mbalax 1979-1981 (Sterns)

Once upon a time in Denver, the brilliant Senegalese band Etoile de Dakar was described to me as something like this - five young virtuosic, perhaps slightly egomaniacal singers and instrumentalists incorporating traditional rhythms and styles into a wildly exciting, hyperactive modern African pop music and creating the most popular new music of Senegal (called mbalax) and changing the face of the country's music in the process. It was a vivid enough description to get me to give it a shot as soon as I could lay my hands on some of their then-rare CDs. Turns out in examining this superb compilation that there were actually at least seven virtuosi in the group, so either the facts given me or my memory weren't accurate, but it's neither here nor there - the rest is absolutely true. And it all took place in the space of only three years, after which Etoile splintered off into a number of other groups of nearly equal worth. Their music generally consists of a fast, constantly shifting set of rhythms where you can hear - or at least imagine that you can hear - the singers, the guitars, and the horns all fighting for top billing. You can hear a constant dialog between the vocals, guitar, and horns and the traditional tama drum, which is probably the most unique element to ears that haven't heard this before. That is, unless you're hearing the uniquely otherworldly vocals of Youssou N'Dour, then an 18-year old wunderkind and now frequently called the most famous person in Africa and an international superstar. You can hear the sometimes over-the-top psychedelic-styled guitar of Badou N'Diaye. You can hear that they had an equal command of slower songs with fast undercurrents. You can hear their development over the course of the six albums(!) they released in those three years and hear how their frenetic rhythms gained more space and more texture over time. And you can hear the earthier, more grounded, more adult vocals of El Hadji Faye contrasting N'Dour's adolescent high wail (that even so still feels somehow ageless). For that matter, you can hear how all these elements combine to make some of the most exciting music you'll ever hear. You can now hear it all on two full-length discs sampling the best of those six long out of print albums for a single disc price rather than seeking out those expensive, hard to find discs that got me into the band. -- Patrick Brown

Los Lobos - Tin Can Trust (Shout Entertainment)

Los Lobos have slowly moved from a regional favorite to a cult phenomenon to what is largely accepted as one of the best bands in America. They have produced many great albums and offer up one of the most consistently riveting live shows to be had. Their last few albums (Good Morning Aztlan, The Ride, The Town And The City and Goes Disney) have been mixed bags that contain some great music but didn't really feel like full-fledged Los Lobos projects. They lacked focus and they didn't showcase the Wolves' greatest strength - the potent songwriting combination of David Hidalgo and Louie Perez. Not since their mid-career peaks of Kiko and Colossal Head have they produced an album as consistently satisfying as Tin Can Trust. Six of the eleven songs are Hidalgo/Perez compositions and they are all classics. Louie Perez writes from a truly American perspective, capturing the small, significant details that make up a human life. His poetry never fails to elevate the listener while remaining grounded in the literal. Listen to the beautiful "The Lady And The Rose" for a taste of his abilities to make the mundane sublime. Also his "27 Spanishes" is the first really intelligent song I've heard about the immigration controversy. The other half of the partnership is David Hidalgo's world-class guitar work and weary, heartfelt vocals. A mutual friend once said of Hidalgo, "man that guy can fart on a guitar and it sounds great." Indelicate perhaps: but quite accurate. Here, he delivers solo after solo that are as unique as they are perfect. He really never misses any chance to take a left turn and play the unexpected. Hidalgo also tackles The Grateful Dead's "West L.A. Fadeaway" and not surprisingly brings a whole new understanding to the song. Having a genuine alumnus of that part of town singing about it adds to the gritty authenticity of this cautionary tale of Hollywood excess. Uber-hipster Cesar Rosas fills the rest of the album with two of his finger-poppin' Spanglish ditties, the irresistible "Yo Canto" and "Mujer Ingrata." He also co-writes "All My Bridges Burning" with lyricist Robert Hunter (who also co-wrote the latest Bob Dylan album) that hints at some of the pain and regret he has felt in his life. Fans of Los Lobos have had to wait a few years to get a great album from their band, but it was so worth the wait. --Paul Epstein

Arcade Fire - The Suburbs (Merge)

Arcade Fire have perfected a really neat trick; they write songs that are involved in the minutiae of human experience and then they present them in what can only be described as EPIC fashion. Musically they are most similar to U2 or The Who, bringing major chord anthems to life with their orchestral sensibilities and ballsy arrangements. The songs leap to the front of your consciousness, quickening the
blood flow and making your heart pump. The lyrics of this album however are an explication of the smallest details of growing up in The Suburbs. Anyone who suffered through painful high school experiences, early broken hearts or precocious, pimply loneliness will be able to relate to the lyrics of these songs. None of this is to imply that Arcade Fire is anything less than artistic though. They are
a highly creative group that uses unexpected instrumentation and deliver their music with a guileless sincerity that defies those who wish to dismiss them as simplistic. The proof of their pudding is the listener's inability to get these songs out of his brain once they are in there. The Suburbs has all the qualities necessary to make Arcade Fire one of this generation's favorite bands. This is a hugely successful album that people can relate to in a very small, personal way. --Paul Epstein

Richard Thompson - Dream Attic (Shout Entertainment)

If erudition were a value in popular music then Richard Thompson would be as popular as Mariah Carey. I knew I could get them both into the same sentence if I tried. Thompson has led a quiet, dignified career, producing album after album of delicately crafted songs that feature his dry observations on modern life and his fluid, stinging guitar work. His latest album, Dream Attic is produced in a novel
fashion. It is a collection of new songs presented in a live setting, so the lucky listener gets all of Thompson's strengths in one fell swoop. The songs are a particularly dark bunch (not that he's ever mister sunshine) preoccupied with the passage of time, the loss of those close to you, and the sad realities of modern life. Thompson's modern band delivers the songs with the fire and excitement one would
expect of live performance, but they are also mindful of the care required to put a new song across. The performances are breathtakingly intimate, yet because of the live setting they take on a familiarity usually unavailable to debut recordings of songs. To add to the listener's understanding of these songs, there is a deluxe version that includes each of the songs in solo demo form. Rarely have we seen an artist that lavishes so much care and thought on the production of new songs. Luckily, these are songs worthy of such attention, and the overall effect is a stunningly personal album. -- Paul Epstein