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Rating:
The best album by Manu Chao. Manu Chao, a controversial figure, perhaps a crafty person who saw things correctly at the right time, perhaps the only true artist left in these times when art has been devoured by business (but, after all, when hasn't it been??). An album, criticized by reviewers worldwide, that has been defined as the lowest point in the career of the French-Spanish singer. Perhaps because as an album itself, it struggles to find a position among all the works produced by the artist.
The cover summarizes many of the characteristics of this record that is at times playful, at times romantic, and also a little sad. The contrast with the previous Clandestino, made of distant and gloomy tones, is immediately striking: here improvisation and sound games reign. . . in short, you feel much more "esperanza" (hope) in this record. The songs get lost, reconnect with each other, repeat and then vanish again. The rhythm is sometimes fast, sometimes slow, and there is never a pause, because moments of stop do not exist in this world that never stops. . . The languages change or mix with each other, English with Spanish, Spanish with French, French with Arabic, and there is also Portuguese. The mixture of rhythms is always what characterizes Manu Chao since the days of Mano Negra, but here with an entirely new sound, starting from numerous reggae motifs, to the dashes of blues, to the twists of Roy Paci's trumpet that adds a touch of jazz to every track.
The album opens with "Merry Blues", which presents the record in all its aspects, the little Bixio carries you towards the beautiful "Eldorado", followed by the playful "Promiscuity" and "La Primavera", a stunning prelude to the much acclaimed (but the only mediocre track on the album) "Me gustas Tu", "Denia" is perhaps the best track on the album, entirely sung in Arabic and full of evocative echoes, "Mi Vida", the very calm "Mi Vida" prepares for the pearl "Trapped by Love", which flows into the reprise "Rendez-Vous", the waters pause for a second before resuming with the magnificent "Mr Bobby", a tribute to the king of Reggae, Bob Marley, Papito resumes the characteristics of "Promiscuity" while "Chinita" has more Latin-flavored nuances, "La Marea" is definitely a standout track for its irresistible rhythm, followed by "Homens" entirely sung by the artist of color Valeria, "La Vacaloca" and closing with "Infinita Tristeza", a track of such complexity that it would require a separate review.
Trumpets, trombones, basses, and recorded voices of radio hosts softly embrace Manu's guitar and voice, the real protagonists of the record. Unmissable because it's extremely evocative and unique in its genre, very captivating and visionary, undoubtedly a masterpiece.
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