The Bad Signs Black Magic Moments, Orchestra Baobab Tribute to Ndiouga Dieng
The Bad Signs
Black Magic Moments
(Number Nine Creative Cult)
The Nashville trio the Bad Signs was born from inspiration that guitarist Nat Rufus got from a decades-old black and white photo of two motorcycle-riding teens—“vintage rebel youth” as he put it.
Make no mistake—the group is going for a retro ‘60s feel, evoking the obligatory accoutrement (bikes, leather and tattoos) of the classic garage-rock/rockabilly era, epitomized by Link Wray, who could turn simple, slowly strummed chords (like those in “Rumble”) into imposing badassery.
Nat, along with his twin brother Rob (author of the autobiography Die Young with Me, about being a teenage punk fighting cancer) were previously in the group Blacklist Royals before forming the Bad Signs with the beehive-hairdo-sporting vocalist Samantha Harlow, known for her work in the country music realm.
On the Bad Signs’ debut EP, Black Magic Moments, the group has the assumed style nailed down, with all the right studio and guitar effects and classic-sounding electric guitar timbres. Distortion, reverb and tremolo are tuned to match ‘60s garage-rock aesthetics.
Showing the soft side of greasers, “Blue Love” is a waltz-time dancehall number, warmly sung by Harlow being aloof rather than tough, with subtly sensual flourishes; it ends with a seemingly compulsory guitar whammy bar dive.
“Love Lock,” inspired by the Parisian bridge adorned with numerous locks added by romantic couples, has a sinister vibe, implying bondage with the sound of shaken chains, and the echoing maelstrom of “Hypno-Twist” features the title repeatedly spoken and a surf-rock beat. The vinyl-only bonus track “Can’t Help Falling in Love” covers the Elvis classic with Harlow’s tender, exposed vocals accompanied by tremolo-treated guitar.
When listening to such music, like watching films from genres like horror or martial arts, it’s about managing expectations—ambitious complexity doesn’t necessarily have to be a criterion of judgment all the time; style can be more important here than substance.
Orchestra Baobab
Tribute to Ndiouga Dieng
(World Circuit)
Orchestra Baobab from the West African country Senegal, formed in 1970 as the house band for the popular Club Baobab in Dakar, has its share of milestones in its long career; after a fruitful run, it disbanded in the ‘80s, with audiences favoring the emerging mbalax dance music over its style that combined Afro-Cuban rhythms and traditional West African music. A reissue of the group’s album Pirates Choice boosted the group’s reunion in 2001, followed by the release of the comeback album Specialist in All Styles.
However, the two most recent milestones for Orchestra Baobab are the passing of Ndiouga Dieng in November, who tackled griot (West African troubadour) vocals in the Wolof tradition of Senegal for the band since the ‘70s, and the recent release of Tribute to Ndiouga Dieng, which is the band’s first album in a decade.
There’s a steady, simmering energy to Orchestra Baobab, which makes sense knowing its history as a house band, to keep people dancing but not burn them out. Cuban flavors, primarily manifested with percussion, mingle with a potpourri of styles taken from the members’ native countries, which include Togo, Guinea and Morocco in addition to Senegal.
Dieng’s son Alpha assumed his father’s role after his death, with Balla Sidibé—one of the group’s original frontmen—currently leading the band.
One of the prominent features of Tribute to Ndiouga Dieng is the masterful and effervescent kora (West African lute) playing from Abdoulaye Cissoko, with swift runs that pepper tracks such as “Mariama” (a Manding classic) and “Alekouma.”
Another highlight is the new rendition of the track “Sey” featuring singer Thione Seck, who reunites with the band after departing in 1979 to pursue his own solo career; its sax riff alternates with Seck’s emotional singing, with flowing electric guitar melodies also sharing the spotlight.
It’s not a bombastic album, but one that’s velvety, spirited and infused with a variety of complex flavors.