The Moxie of Electric Guitar Rock Meets the Grit of West African Spike Fiddle: Real World Records Releases Justin Adams’ and Juldeh Camara’s Tell No Lies
Juldeh Camara & Justin Adams, photo by York Tillyer 2009 Real World Records Ltd.
“Ah, the spirits are near,” Gambian griot Juldeh Camara told British rock guitarist Justin Adams as they finished a spontaneous song one night in Adams’ small garage studio. “It came from nowhere, went on an entire journey. I looked at him, astonished,” Adams recalls.
Adams is no newcomer to what some Westerners call “luck” or “coincidence” and some Africans call spirits, having alternated time in the Sahara with Tuareg bluesmen with time onstage as British rocker Robert Plant’s guitarist. The past decade has seen a convergence of the unnameable forces that guide the soul of rock and roll and the essence of Western African music forms. Camara’s evocative playing on the riti-a Gambian, one-string spike fiddle that evokes a diversity of sonorities-is unexpectedly compatible with Adam’s signature Clash-meets-desert trance guitar sound.
The fluidity, spontaneity, and otherworldliness that define both spheres-rock and African-are palpable on Tell No Lies (Real World Records; June 9, 2009). Adams’ and Camara’s collaboration is filtered through the confidently bluesy grit and urban sensibilities of rock, desert grooves, and old-school R&B. “I wanted to take the music beyond the usual ‘nice’ sound of a lot of African records,” says Adams. To this end, Adams made a mix on his iPod for Camara-who also plays a Ghanaian banjo called the kologo-and for Mim Suleiman, a metallurgist-turned-singer from Zanzibar .
“I made up a mixtape before we started working on the album, and it had things like Johnny Otis, Willie and the Hand Jive, and an old Rolling Stones track from Exile on Main Street, which is very spooky and percussion heavy, along with some various old 1970s Nigerian tunes and Senegalese tunes, with lots of distortion and analog delay,” Adams explains. “And we had a bit of Led Zeppelin and The Clash and of course Muddy Waters and Bo Diddley, the musical well between the New World and old West African funk. Those were the reference points.”
And for Camara, who grew up learning the riti from his blind griot father, this all makes perfect sonic sense. “People ask me a lot which kind of music is my favorite. I don’t have any. Music is family,” Camara muses. “If I listen to songs from different people, I hear African rhythm. That’s how I feel the music.”
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