Browse content similar to How to Be a World Music Star: Buena Vista, Bhundu Boys and Beyond. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
In the 1980s, | 0:00:04 | 0:00:06 | |
some British music fans were searching for something new. | 0:00:06 | 0:00:09 | |
The answer lay somewhere out there, | 0:00:11 | 0:00:15 | |
but how to find it over here? | 0:00:15 | 0:00:18 | |
Where did you put a Bulgarian tractor-factory workers' choir | 0:00:18 | 0:00:23 | |
and some guitar-slinging hotshot from Guinea-Bissau? | 0:00:23 | 0:00:26 | |
How did you put them in a record shop? | 0:00:26 | 0:00:28 | |
This is the story of how a new music genre was born. | 0:00:30 | 0:00:34 | |
What could we have? | 0:00:34 | 0:00:36 | |
OK, tropical? Well, that leaves the Bulgarians out. | 0:00:36 | 0:00:40 | |
After ten minutes, then more audience came. | 0:00:40 | 0:00:42 | |
World beat. | 0:00:42 | 0:00:44 | |
After 20 minutes, more audience came. | 0:00:44 | 0:00:46 | |
Maybe someone said "ethnic". | 0:00:46 | 0:00:48 | |
And after 30 minutes, packed. | 0:00:48 | 0:00:51 | |
"World music" and everybody went, "Yeah, that works." | 0:00:51 | 0:00:55 | |
And it's the story of the meeting of cultures, collaborations | 0:00:56 | 0:01:02 | |
and conflicting ambitions | 0:01:02 | 0:01:03 | |
that have changed our musical landscape for ever. | 0:01:03 | 0:01:07 | |
You know, any idea they were these kind of innocent noble savages | 0:01:10 | 0:01:14 | |
who were going to be corrupted by Western influences was rubbish. | 0:01:14 | 0:01:18 | |
We have been offered to be in a limousine, we travel with limousine. | 0:01:18 | 0:01:26 | |
MUSIC: "Wake Me Up Before You Go Go" by Wham! | 0:01:33 | 0:01:38 | |
At the turn of the 1980s, | 0:01:38 | 0:01:41 | |
Britain was sound-tracked by chart-friendly pop. | 0:01:41 | 0:01:44 | |
Punk was dead and so was Bob Marley. | 0:01:45 | 0:01:49 | |
Music was reflecting, not criticising the excess, | 0:01:49 | 0:01:52 | |
the glamour, the new drama of life and those that really | 0:01:52 | 0:01:57 | |
loved the idea of just music, | 0:01:57 | 0:01:59 | |
they felt an awful lot would be missing, | 0:01:59 | 0:02:01 | |
you know, in terms of authentic music, real music, | 0:02:01 | 0:02:05 | |
music that wasn't about showbusiness or escapism. | 0:02:05 | 0:02:08 | |
Now people were looking for the kinds of things | 0:02:11 | 0:02:14 | |
they used to get | 0:02:14 | 0:02:16 | |
from roots music in the early '60s and jazz, | 0:02:16 | 0:02:20 | |
that kind of virtuosity | 0:02:20 | 0:02:22 | |
and improvisation and connectedness to culture. | 0:02:22 | 0:02:27 | |
I think people were really casting around for something different | 0:02:27 | 0:02:31 | |
because it was almost like if you admitted that manufactured pop | 0:02:31 | 0:02:34 | |
was the king again, then the whole punk thing had been a waste of time. | 0:02:34 | 0:02:38 | |
Meanwhile, the post-punk scene of the early '80s | 0:02:42 | 0:02:45 | |
found itself in a dark place. | 0:02:45 | 0:02:48 | |
They too were looking for fresh sounds from somewhere, anywhere. | 0:02:48 | 0:02:51 | |
MUSIC: "All My Colours Zimbo" by Echo & The Bunnymen | 0:02:51 | 0:02:54 | |
Enter WOMAD, the World Of Music And Dance Festival in 1982. | 0:03:00 | 0:03:04 | |
Musicians from around the world arrived to share the stage with | 0:03:06 | 0:03:10 | |
indie bands - Echo & The Bunnymen | 0:03:10 | 0:03:12 | |
teamed up with the drummers of Burundi. | 0:03:12 | 0:03:15 | |
All of the Bunnymen fans from Liverpool were so excited. | 0:03:18 | 0:03:21 | |
They just drummed all night, | 0:03:21 | 0:03:22 | |
there were about 80 people just drumming in a very good-natured | 0:03:22 | 0:03:27 | |
fashion, I may add, on a sheep-shearing shed | 0:03:27 | 0:03:29 | |
and as they did it, | 0:03:29 | 0:03:30 | |
it just gradually just fell over, the whole shed just collapsed. | 0:03:30 | 0:03:33 | |
The first WOMAD was an expensive venture and founder Peter Gabriel | 0:03:36 | 0:03:40 | |
had to put on a gig with a re-formed Genesis to pay for it. | 0:03:40 | 0:03:43 | |
But a spark had been ignited. | 0:03:45 | 0:03:48 | |
I'm very hopeful that even if we can't continue, | 0:03:48 | 0:03:50 | |
that the idea is going to be pushed through by some others | 0:03:50 | 0:03:54 | |
because, if nothing else, | 0:03:54 | 0:03:56 | |
we showed that a rock audience | 0:03:56 | 0:03:58 | |
could give a standing ovation to a 50-year-old Chinese horn player | 0:03:58 | 0:04:02 | |
and that was great. | 0:04:02 | 0:04:04 | |
Several radio pioneers had also been trying to push their listeners | 0:04:09 | 0:04:13 | |
to look outside the UK charts. | 0:04:13 | 0:04:16 | |
The trouble with the industry at the moment is that everybody is | 0:04:16 | 0:04:19 | |
kind of recycling existing ideas and copying each other | 0:04:19 | 0:04:23 | |
so fast you can't even remember who copied who any more. | 0:04:23 | 0:04:26 | |
Radio 1's John Peel had always slipped in the odd foreign | 0:04:26 | 0:04:29 | |
record from the BBC sound archives... | 0:04:29 | 0:04:31 | |
..as did his enthusiastic young apprentice. | 0:04:33 | 0:04:36 | |
One day, Peel and I were sitting in the office of Radio 1 and almost | 0:04:37 | 0:04:41 | |
together we opened cardboard mailers which contained the same record. | 0:04:41 | 0:04:47 | |
I said to Peel, "The Bhundu Boys. I've never heard of them. | 0:04:47 | 0:04:51 | |
"Have you, John?" He said, "Oh, stick it on." | 0:04:51 | 0:04:54 | |
The instant it went on, | 0:04:56 | 0:04:58 | |
it was as though somebody was showering the room with | 0:04:58 | 0:05:01 | |
this fountain of jewelled guitar notes | 0:05:01 | 0:05:04 | |
and it was one of these great "What is this?" moments. | 0:05:04 | 0:05:08 | |
HE SINGS IN SHONA | 0:05:09 | 0:05:13 | |
By the time their demo bounced into the Radio 1 studios in 1985, | 0:05:32 | 0:05:37 | |
the Bhundu Boys had long been entertaining audiences | 0:05:37 | 0:05:40 | |
back home in Zimbabwe. | 0:05:40 | 0:05:41 | |
Their journey to the UK began in a Glaswegian Jobcentre | 0:05:47 | 0:05:50 | |
as musicians Owen Elias and Doug Veitch set their sights | 0:05:50 | 0:05:54 | |
beyond the drizzly Scottish dole queue to hotter climes. | 0:05:54 | 0:05:58 | |
It was the glorious days | 0:06:03 | 0:06:04 | |
of something called the Enterprise Allowance Scheme, | 0:06:04 | 0:06:06 | |
so Owen went off to Zimbabwe | 0:06:06 | 0:06:08 | |
with his £40 a week | 0:06:08 | 0:06:10 | |
from the government of the day to start an African record label! | 0:06:10 | 0:06:14 | |
He came back with this globetrotter case full of records. | 0:06:17 | 0:06:22 | |
The one that stuck out was the Bhundu Boys. | 0:06:22 | 0:06:24 | |
And our producer came to us and told us, | 0:06:24 | 0:06:27 | |
"There are guys who are coming from England | 0:06:27 | 0:06:29 | |
"and they want your group to go to England and play there. | 0:06:29 | 0:06:33 | |
"Would you be interested?" Who would reject an offer like that? | 0:06:33 | 0:06:37 | |
We got in the plane, actually with nothing besides our rucksacks | 0:06:45 | 0:06:50 | |
and we're thinking, "Well, we've seen London on the telly, | 0:06:50 | 0:06:55 | |
"it looks like heaven. | 0:06:55 | 0:06:57 | |
"Probably we are going to buy our clothes there." | 0:06:58 | 0:07:02 | |
We were told this guy is a professor and if you want money - | 0:07:02 | 0:07:06 | |
the professor, you expect him to be very rich. | 0:07:06 | 0:07:09 | |
I think the band were under the impression that Owen | 0:07:09 | 0:07:12 | |
was a professor and there was this pop-star musician called Doug Veitch. | 0:07:12 | 0:07:15 | |
Now, when they arrived off the plane, they very quickly see that | 0:07:15 | 0:07:18 | |
I was no pop star and that Owen was no real professor. | 0:07:18 | 0:07:22 | |
The band came off and I think the most any of them had was | 0:07:23 | 0:07:26 | |
a toilet bag and I thought, "Shit, where's the instruments?", you know. | 0:07:26 | 0:07:31 | |
They were waiting with their trolleys, | 0:07:31 | 0:07:34 | |
waiting to pick up the stuff and at the end, there was no stuff. | 0:07:34 | 0:07:39 | |
We didn't ask what they were waiting for, | 0:07:39 | 0:07:41 | |
we just thought this is what you do at the airport. | 0:07:41 | 0:07:44 | |
The Bhundu Boys were due on in Glasgow that night. | 0:07:44 | 0:07:47 | |
They're in London with no instruments. | 0:07:47 | 0:07:49 | |
With only a few hours until their UK debut, | 0:07:53 | 0:07:56 | |
Owen and Doug hurriedly scoured the music shops of Glasgow | 0:07:56 | 0:07:59 | |
to secure some last-minute instruments. | 0:07:59 | 0:08:01 | |
As we arrived here, we didn't know what to expect. | 0:08:04 | 0:08:07 | |
We are coming from a country where we are used to play | 0:08:07 | 0:08:10 | |
to our own black audience | 0:08:10 | 0:08:13 | |
and there we are where there was only white audiences and we're going | 0:08:13 | 0:08:20 | |
to speak in our own African language which they don't understand. | 0:08:20 | 0:08:24 | |
People were so tense at first, they didn't know what to expect. | 0:08:28 | 0:08:32 | |
And something used to happen around the third number. | 0:08:33 | 0:08:36 | |
It was as though something coalesced, gelled, at that point, | 0:08:36 | 0:08:39 | |
and all of a sudden it would seem like the whole room - | 0:08:39 | 0:08:42 | |
audience, band, structure, the lot - was bouncing up and down as one. | 0:08:42 | 0:08:46 | |
But when we finished the first set, | 0:08:59 | 0:09:02 | |
the lights started going kito-kito-kito off and on | 0:09:02 | 0:09:06 | |
and it sounded like that was the end of the day and I'm thinking, | 0:09:06 | 0:09:11 | |
"What's going on?" Back home, we were used to play for long hours. | 0:09:11 | 0:09:17 | |
If you play one and a half | 0:09:17 | 0:09:19 | |
and people have paid £10, they'll stone you to death. | 0:09:19 | 0:09:24 | |
Instead of going back to Zimbabwe, the boys from Harare | 0:09:26 | 0:09:30 | |
became temporary residents of the Scottish village of Hawick. | 0:09:30 | 0:09:34 | |
They emerged with a new album and a tour van. | 0:09:35 | 0:09:38 | |
The Bhundu Boys were ready to take jit jive on the road. | 0:09:40 | 0:09:43 | |
What the boys are doing | 0:09:45 | 0:09:46 | |
and other musicians like the Bhundu Boys is not as dramatic and severe | 0:09:46 | 0:09:52 | |
as the whole punk phenomenon when that happened, but it's nevertheless | 0:09:52 | 0:09:56 | |
as, erm, as important. It's... | 0:09:56 | 0:10:02 | |
This is the next stage of popular music. | 0:10:02 | 0:10:04 | |
We played everywhere. | 0:10:08 | 0:10:10 | |
In certain places where when you arrive, it would be empty. | 0:10:10 | 0:10:15 | |
We would be asking ourselves, "Oh, we've made a mistake, | 0:10:15 | 0:10:19 | |
"we shouldn't have come here." We go on stage, it's packed. | 0:10:19 | 0:10:24 | |
When you come to Zimbabwe, we are going to give you sadza, | 0:10:24 | 0:10:28 | |
because you have given us Guinness. | 0:10:28 | 0:10:30 | |
Thank you. | 0:10:30 | 0:10:31 | |
All right. | 0:10:31 | 0:10:33 | |
Peel and Kershaw had become entranced | 0:10:50 | 0:10:52 | |
and championed the Bhundu Boys on their Radio 1 shows. | 0:10:52 | 0:10:56 | |
They were playing at a college in Chelsea and anyway Peel | 0:10:56 | 0:10:59 | |
and I plodded along and I was just, I don't know, with this enormous grin | 0:10:59 | 0:11:03 | |
on my face and I looked at Peel and Peel, of course, being an old softy, | 0:11:03 | 0:11:07 | |
he was standing there with fat tears running down fat cheeks. | 0:11:07 | 0:11:11 | |
Then he said something to me | 0:11:11 | 0:11:12 | |
at the end along the lines of he never expected | 0:11:12 | 0:11:16 | |
to be as moved by music again | 0:11:16 | 0:11:20 | |
as he was by what he heard that night. | 0:11:20 | 0:11:25 | |
When I'm invited to dinner by friends in the village here, | 0:11:25 | 0:11:27 | |
instead of taking the bottle of unpleasant wine that's obligatory | 0:11:27 | 0:11:30 | |
even in these backwoods, I take a copy of the Bhundu Boys LP Shabini. | 0:11:30 | 0:11:35 | |
This has by so much supplanted the Dire Straits LPs | 0:11:35 | 0:11:38 | |
on the smarter turntables in the area that we now get | 0:11:38 | 0:11:40 | |
invitations from people we barely know who just want a copy of the LP. | 0:11:40 | 0:11:44 | |
Why aren't these people getting more daytime radio airplay, | 0:11:44 | 0:11:47 | |
the Bhundu Boys? | 0:11:47 | 0:11:48 | |
I think we came on the right time where a lot of people wanted | 0:11:57 | 0:12:01 | |
some change and we have come with a different beat, | 0:12:01 | 0:12:05 | |
different from reggae, different from pop, something different. | 0:12:05 | 0:12:10 | |
It seems, I think, we are proving ourselves to be the Duran Duran | 0:12:10 | 0:12:14 | |
of Zimbabwe and, well, any time from now the Bhundu of the world. | 0:12:14 | 0:12:20 | |
It turned out the Bhundu Boys were right on the money. | 0:12:40 | 0:12:44 | |
In 1987, Shabini hit the indie charts at number two | 0:12:44 | 0:12:48 | |
and stayed in the top 20 for five months. | 0:12:48 | 0:12:51 | |
And that year, less than two years since their first gig in Glasgow, | 0:12:52 | 0:12:56 | |
the Bhundu Boys signed with Warner Brothers. | 0:12:56 | 0:12:59 | |
There is a bigger untapped source of absolutely fabulous talent | 0:12:59 | 0:13:07 | |
on the African continent than anywhere else in the world by far. | 0:13:07 | 0:13:12 | |
# Back in the Bhundu is where we are from | 0:13:12 | 0:13:17 | |
# Dancing back from there the whole night long | 0:13:20 | 0:13:24 | |
# They seem not to care They say it's all right | 0:13:28 | 0:13:32 | |
# Let's avenge each child in the bhundu night. # | 0:13:35 | 0:13:37 | |
But their first album with Warner, True Jit, | 0:13:40 | 0:13:42 | |
was a far cry from early albums like Shabini. | 0:13:42 | 0:13:46 | |
I think it was the death knell for the band. | 0:13:46 | 0:13:48 | |
They had a brilliant formula, they sang in their own language, | 0:13:48 | 0:13:51 | |
they sang in Shona, | 0:13:51 | 0:13:53 | |
people were perfectly willing to listen to the band in Shona. | 0:13:53 | 0:13:56 | |
It was part of the appeal of the band. | 0:13:56 | 0:13:58 | |
They signed to WEA and went down a completely different route - | 0:13:58 | 0:14:01 | |
they sang in English, they added brass sections to them. | 0:14:01 | 0:14:04 | |
Why would you change a winning formula? | 0:14:04 | 0:14:06 | |
Why would you change everything the public liked about the band? | 0:14:06 | 0:14:10 | |
Why would you change that? | 0:14:10 | 0:14:11 | |
They put us on a tour in America. | 0:14:11 | 0:14:15 | |
We had to sleep in five-star hotels, which was great, | 0:14:16 | 0:14:21 | |
because we have never tasted that kind of life before | 0:14:21 | 0:14:24 | |
and we never thought it would come our way. | 0:14:24 | 0:14:27 | |
We had been offered to be in a limousine, | 0:14:27 | 0:14:30 | |
we travel with limousine. | 0:14:30 | 0:14:32 | |
MUSIC: "Material Girl" by Madonna | 0:14:32 | 0:14:34 | |
That year saw the Bhundu Boys support Madonna at Wembley Stadium, | 0:14:39 | 0:14:43 | |
but it wasn't to last. | 0:14:43 | 0:14:45 | |
True Jit was a commercial flop and in 1989, just three years | 0:14:47 | 0:14:51 | |
after they'd arrived in the UK, | 0:14:51 | 0:14:53 | |
the Bhundus were dropped by Warner. | 0:14:53 | 0:14:56 | |
They had this quality which excited people, thrilled people, | 0:14:56 | 0:15:00 | |
and brought out a, er... | 0:15:00 | 0:15:04 | |
..like a sense of devotion. | 0:15:05 | 0:15:07 | |
People loved them. | 0:15:07 | 0:15:09 | |
And they did reach people who would not ordinarily have been | 0:15:09 | 0:15:12 | |
listeners to African music, even me mother liked the Bhundu Boys music. | 0:15:12 | 0:15:16 | |
The broad appeal of the Bhundu Boys was undoubtedly | 0:15:21 | 0:15:24 | |
helped by radio airplay. | 0:15:24 | 0:15:26 | |
One of the big differences and very positive things about | 0:15:26 | 0:15:29 | |
that time was you could hear a lot of things on Radio 1. | 0:15:29 | 0:15:32 | |
You had not only John Peel, but you had Andy Kershaw | 0:15:32 | 0:15:35 | |
and you had a sense in which both Radio 1 | 0:15:35 | 0:15:37 | |
and Radio 2 would let all sorts of unusual musics in. | 0:15:37 | 0:15:41 | |
But even the likes of Peel and Kershaw had to know where to look. | 0:15:42 | 0:15:46 | |
There was this shop, Sterns, in London, which was selling... | 0:15:47 | 0:15:49 | |
It was selling toasters and repairing weird | 0:15:49 | 0:15:53 | |
bits of electrical equipment, but they also sold African records. | 0:15:53 | 0:15:57 | |
And I'd spend hours in there and I couldn't have carried on | 0:15:57 | 0:16:01 | |
with these radio eccentricities had I not had the support of that shop. | 0:16:01 | 0:16:07 | |
MUSIC: "A Lambkin Has Commenced Bleating" by Nadka Karadjova | 0:16:07 | 0:16:11 | |
Terry Wogan's breakfast show had | 0:16:19 | 0:16:22 | |
a reputation for dipping into exotic sounds and one day he picked up | 0:16:22 | 0:16:26 | |
Nadka Karadjova's Bulgarian folk tune, | 0:16:26 | 0:16:29 | |
A Lambkin Has Commenced Bleating. | 0:16:29 | 0:16:31 | |
It turned out to be a radio hit. | 0:16:33 | 0:16:35 | |
People were picking up different things | 0:16:46 | 0:16:48 | |
and obviously pre-internet period, | 0:16:48 | 0:16:49 | |
you were finding scraps of information | 0:16:49 | 0:16:51 | |
and people were going, "I've got this thing," you know, | 0:16:51 | 0:16:54 | |
and they would play it to their friends and run off a cassette maybe | 0:16:54 | 0:16:57 | |
and you'd pass it | 0:16:57 | 0:16:59 | |
in a very hand-to-hand, word-of-mouth kind of way. | 0:16:59 | 0:17:01 | |
MUSIC: "Bela Lugosi's Dead" by Bauhaus | 0:17:01 | 0:17:04 | |
I'd been given a third copy cassette from a stagehand friend of mine. | 0:17:13 | 0:17:18 | |
The moment I heard it, | 0:17:18 | 0:17:19 | |
it was a brand-new, wonderful, almost operatic, | 0:17:19 | 0:17:23 | |
aria-type folk song. | 0:17:23 | 0:17:26 | |
MUSIC: Bulgarian State Radio & Television Female Vocal Choir | 0:17:26 | 0:17:30 | |
At the end of each session, I would have a sort of listen to this music | 0:17:38 | 0:17:43 | |
and Ivo was very piqued by that and he quickly moved in on it. | 0:17:43 | 0:17:49 | |
Ivo Watts Russell was the head of art rock label 4AD, | 0:17:51 | 0:17:55 | |
home to the likes of Cocteau Twins and Dead Can Dance. | 0:17:55 | 0:17:59 | |
In 1986, he released the songs from Pete Murphy's | 0:18:03 | 0:18:07 | |
cassette on a 4AD album. | 0:18:07 | 0:18:10 | |
It was called Le Mystere Des Voix Bulgares. | 0:18:10 | 0:18:14 | |
I think they actually leaked the record onto the market | 0:18:14 | 0:18:17 | |
and sold 500 copies of it with a conventional choir on the front | 0:18:17 | 0:18:21 | |
cover and they didn't sell any copies | 0:18:21 | 0:18:23 | |
so they kind of did a Cocteau Twins Design with the jewelled slipper | 0:18:23 | 0:18:27 | |
underwater and immediately that just started to intrigue people. | 0:18:27 | 0:18:32 | |
The label had applied to the cover | 0:18:32 | 0:18:34 | |
their trademark enigmatic art work to dramatic effect. | 0:18:34 | 0:18:37 | |
The cover looked like it was a still from a horror movie. | 0:18:39 | 0:18:43 | |
It was obviously mysterious and drew you in. | 0:18:43 | 0:18:46 | |
You certainly wanted to know who was behind it | 0:18:46 | 0:18:48 | |
and lots of people were talking about why Bulgarian | 0:18:48 | 0:18:53 | |
women singers were suddenly appearing in the independent charts. | 0:18:53 | 0:18:57 | |
For the average 4AD fan, | 0:19:01 | 0:19:03 | |
the otherworldly voices of Bulgaria seemed to fit | 0:19:03 | 0:19:06 | |
right in with the ethereal sound of the Cocteau Twins. | 0:19:06 | 0:19:09 | |
It was a rock audience that was just going, | 0:19:11 | 0:19:13 | |
"There's something amazing here," and, you know, musicians would | 0:19:13 | 0:19:16 | |
start to pick up on it and play it for people and, you know, | 0:19:16 | 0:19:20 | |
the word didn't exist in those days, but it was a viral thing. | 0:19:20 | 0:19:24 | |
Who do you enjoy listening to now? Do you enjoy listening to Madonna? | 0:19:38 | 0:19:41 | |
There was a nice record by the Bulgarian Ladies' Choir, | 0:19:41 | 0:19:45 | |
which I think is sensational. | 0:19:45 | 0:19:47 | |
We'll have to look that out at the BBC record library, | 0:19:47 | 0:19:49 | |
the Bulgarian Ladies' Choir, yes. | 0:19:49 | 0:19:51 | |
I'll bring it with me next time. | 0:19:51 | 0:19:54 | |
In 1987, a Le Mystere Des Voix Bulgares touring choir | 0:19:59 | 0:20:03 | |
met with British audiences for the first time. | 0:20:03 | 0:20:06 | |
Their appearance was certainly unlike anything that we've | 0:20:10 | 0:20:16 | |
come across in the conventional pop and rock sense in a long time. | 0:20:16 | 0:20:20 | |
Off the back of the success of the 4AD album, | 0:20:28 | 0:20:30 | |
Bulgarian choirs started springing | 0:20:30 | 0:20:33 | |
up all over, including splinter group Trio Bulgarka. | 0:20:33 | 0:20:37 | |
In some ways, it's the most exciting communication I've ever had | 0:20:38 | 0:20:42 | |
with musicians because we can't communicate intellectually because we | 0:20:42 | 0:20:48 | |
don't have the language, so we speak to each other emotionally, really. | 0:20:48 | 0:20:52 | |
We sort of feel each other, that's what it feels like. | 0:20:52 | 0:20:56 | |
Everyone wants to be a part | 0:21:04 | 0:21:05 | |
of the apparently ancient magic of rural Bulgaria. | 0:21:05 | 0:21:08 | |
There was just a real sense of, this is an extraordinary phenomenon | 0:21:11 | 0:21:14 | |
and it's something that's obviously been hidden away for centuries | 0:21:14 | 0:21:17 | |
and suddenly it's come out into the open. | 0:21:17 | 0:21:19 | |
But in fact, when 4AD | 0:21:48 | 0:21:50 | |
had licensed the music, the trail for its owner had led them | 0:21:50 | 0:21:54 | |
not to Bulgaria, but to Switzerland. | 0:21:54 | 0:21:57 | |
The recordings were traced back to music collector Marcel Cellier, | 0:22:03 | 0:22:08 | |
who since the 1950s had been poking behind the Iron Curtain | 0:22:08 | 0:22:11 | |
looking for folk music. | 0:22:11 | 0:22:14 | |
He'd stumbled across a goldmine of recorded songs | 0:22:14 | 0:22:17 | |
in the archives of Bulgaria's national radio station. | 0:22:17 | 0:22:21 | |
To enter the radio, you had to give your passport... | 0:22:21 | 0:22:24 | |
And to pass a man with a gun. | 0:22:24 | 0:22:28 | |
..with a machine gun was before...at the entrance. | 0:22:28 | 0:22:33 | |
The songs were in fact the creation of Bulgaria's Communist regime. | 0:22:41 | 0:22:45 | |
In the 1950s, they embarked on a programme to promote national | 0:22:46 | 0:22:50 | |
pride by taking old folksongs and rearranging them for whole choirs. | 0:22:50 | 0:22:55 | |
In 1975, Cellier released a compilation of his findings | 0:23:09 | 0:23:13 | |
and called it Le Mystere Des Voix Bulgares. | 0:23:13 | 0:23:16 | |
We sold very little during ten years, but then it was the new generation | 0:23:19 | 0:23:25 | |
actually who was eager for new sounds that discovered it and it spread. | 0:23:25 | 0:23:32 | |
In 1989, the songs that had started life in a Communist radio station | 0:23:37 | 0:23:42 | |
before being collected by a Swiss musicologist | 0:23:42 | 0:23:46 | |
and finally repackaged by a British indie label, won a Grammy award. | 0:23:46 | 0:23:51 | |
And thanks to that Grammy, | 0:23:53 | 0:23:56 | |
they went to be well known over the world, | 0:23:56 | 0:24:01 | |
and succeeded everywhere. | 0:24:01 | 0:24:04 | |
It was a great success. | 0:24:05 | 0:24:06 | |
Non-Western music was starting to appeal on a global level... | 0:24:19 | 0:24:22 | |
..but there was a problem. | 0:24:25 | 0:24:26 | |
Record shops wanted it, | 0:24:29 | 0:24:30 | |
but they didn't know where to put it physically in the shops. | 0:24:30 | 0:24:33 | |
They didn't want to put it alphabetically by artist | 0:24:33 | 0:24:35 | |
because lots of people who went in looking for these things | 0:24:35 | 0:24:38 | |
didn't know how to spell the names of the artists, | 0:24:38 | 0:24:40 | |
so where did you put two albums as diverse | 0:24:40 | 0:24:43 | |
as a Bulgarian tractor-factory workers' choir | 0:24:43 | 0:24:47 | |
and some guitar-slinging hotshot from Guinea-Bissau? | 0:24:47 | 0:24:51 | |
How did you put them in a record shop and, moreover, put them together? | 0:24:51 | 0:24:56 | |
A handful of independent record labels and journalists | 0:24:58 | 0:25:01 | |
met to work out where to put this music and what to call it. | 0:25:01 | 0:25:06 | |
And as with all good ideas, the discussion took place in a pub. | 0:25:06 | 0:25:09 | |
'What can we have?' | 0:25:09 | 0:25:11 | |
OK, Tropical? Well, that, you know, leaves the Bulgarians out | 0:25:11 | 0:25:15 | |
and the Finns. | 0:25:15 | 0:25:17 | |
-World Beat. -Maybe someone said Ethnic. | 0:25:17 | 0:25:20 | |
That's boring. | 0:25:20 | 0:25:21 | |
Global something. | 0:25:21 | 0:25:23 | |
And so on. | 0:25:23 | 0:25:24 | |
World Music was one of the terms that was around | 0:25:24 | 0:25:27 | |
that was chucked into the pot and everybody went, "Yeah, that works." | 0:25:27 | 0:25:32 | |
-# Movement of the people -Send us another brother, Moses... # | 0:25:34 | 0:25:38 | |
Finding musicians from overseas with enough crossover appeal | 0:25:39 | 0:25:42 | |
to excite a UK audience | 0:25:42 | 0:25:44 | |
was the ultimate dream for many independent record labels | 0:25:44 | 0:25:48 | |
throughout the '80s. | 0:25:48 | 0:25:49 | |
And since Bob Marley's death in 1981, | 0:25:51 | 0:25:53 | |
there was quest to find a Third World superstar to replace him. | 0:25:53 | 0:25:58 | |
Their attention was starting to turn to a generation of stars | 0:26:00 | 0:26:03 | |
emerging from Africa, whose presence was growing closer to home. | 0:26:03 | 0:26:08 | |
It's really something that comes back from the colonisation period. | 0:26:16 | 0:26:22 | |
African artists are used now to come here to record for years, really. | 0:26:22 | 0:26:29 | |
A new generation of African musicians was descending on Paris, | 0:26:31 | 0:26:36 | |
aspiring to break into the international market. | 0:26:36 | 0:26:39 | |
Among them, a young Youssou N'Dour. | 0:26:42 | 0:26:44 | |
HE SPEAKS FRENCH | 0:26:46 | 0:26:47 | |
Youssou N'Dour used the opportunity whilst in Paris | 0:27:10 | 0:27:13 | |
to record his debut international album. | 0:27:13 | 0:27:16 | |
Immigres would put Youssou N'Dour on the international music map | 0:27:49 | 0:27:53 | |
and indicate greater things to come. | 0:27:53 | 0:27:55 | |
Also searching for international stardom was Malian, Salif Keita. | 0:27:56 | 0:28:02 | |
In 1985, he was approached by producer Martin Meissonnier | 0:28:02 | 0:28:07 | |
to record a demo for record label, CBS. | 0:28:07 | 0:28:10 | |
Salif's band was two guitars, percussion, backing vocals - | 0:28:13 | 0:28:17 | |
like a rock'n'roll set-up. | 0:28:17 | 0:28:19 | |
So we went to the studio and we recorded just like, you know, | 0:28:19 | 0:28:22 | |
three days and one take. Boom. | 0:28:22 | 0:28:26 | |
HE SINGS IN MALIAN | 0:28:26 | 0:28:29 | |
That was it. I actually thought he was fantastic. | 0:28:34 | 0:28:38 | |
I took it to CBS | 0:28:38 | 0:28:39 | |
and, basically, CBS didn't like the demo, because they thought | 0:28:39 | 0:28:43 | |
it was too African. Salif got really pissed off with me | 0:28:43 | 0:28:48 | |
and he got pissed off also with his band, so he actually | 0:28:48 | 0:28:51 | |
fired the band. | 0:28:51 | 0:28:52 | |
And, um... | 0:28:52 | 0:28:56 | |
Because he wanted to have a more modern sound. | 0:28:56 | 0:29:01 | |
Salif found a new producer, a few electronic instruments | 0:29:03 | 0:29:07 | |
and a 48-track mixing desk to re-record the album, Soro. | 0:29:07 | 0:29:11 | |
HE SPEAKS IN FRENCH | 0:29:15 | 0:29:16 | |
It was an extraordinary LP. | 0:29:36 | 0:29:38 | |
It really all came down to the opening few seconds | 0:29:38 | 0:29:41 | |
of the first track on the album, where he goes... Here we go! | 0:29:41 | 0:29:45 | |
Ha... | 0:29:45 | 0:29:47 | |
SALIF'S NOTE CONTINUES | 0:29:47 | 0:29:50 | |
'Oh, wow! When you heard that,' | 0:29:51 | 0:29:52 | |
it was that wonderful sense, as ever, of "What is this?!" | 0:29:52 | 0:29:56 | |
SONG CONTINUES | 0:29:56 | 0:29:59 | |
But not everyone was so convinced of Salif's new direction, | 0:30:25 | 0:30:29 | |
including his own producer, Ibrahim Sylla, | 0:30:29 | 0:30:32 | |
known as the Quincy Jones of West Africa. | 0:30:32 | 0:30:34 | |
HE SPEAKS FRENCH | 0:30:35 | 0:30:37 | |
HE SPEAKS FRENCH | 0:31:03 | 0:31:06 | |
Soro sold 60,000 copies in the UK for Sterns, | 0:31:15 | 0:31:20 | |
which was the nearest the record label had to a mainstream hit. | 0:31:20 | 0:31:24 | |
All these guys, they didn't want to sounds like grandpa, you know. | 0:31:31 | 0:31:35 | |
HE LAUGHS | 0:31:35 | 0:31:37 | |
They wanted to be hot. | 0:31:37 | 0:31:38 | |
And so, on one hand you have the critics, who actually want the band | 0:31:38 | 0:31:42 | |
to feel the dirt and... you know, make a trip to Africa | 0:31:42 | 0:31:49 | |
as they listen to the track. | 0:31:49 | 0:31:51 | |
And the other guys, they want to be Michael Jackson. | 0:31:51 | 0:31:54 | |
In 1988, traditional kora player Mory Kante actually pulled it off, | 0:32:08 | 0:32:12 | |
with his hit record, | 0:32:12 | 0:32:14 | |
Yeke Yeke - the first-ever African single to sell | 0:32:14 | 0:32:17 | |
over one million copies worldwide. | 0:32:17 | 0:32:20 | |
While some African musicians were trying to sound more Western... | 0:32:21 | 0:32:25 | |
# People say she's crazy, she's got diamonds on the soles of her shoes | 0:32:27 | 0:32:31 | |
# Well, that's one way to lose these walking blues | 0:32:33 | 0:32:38 | |
# Diamonds on the soles of her shoes. # | 0:32:38 | 0:32:40 | |
When Paul Simon released Graceland | 0:32:42 | 0:32:44 | |
in 1986, its jubilant South African township jive went platinum, | 0:32:44 | 0:32:49 | |
selling over 1.5 million copies in the UK alone. | 0:32:49 | 0:32:53 | |
If I had a mountain to climb, trying to convince | 0:32:53 | 0:32:56 | |
the British radio audience | 0:32:56 | 0:32:58 | |
that these kind of groups were worth listening to, | 0:32:58 | 0:33:03 | |
then that job was made a doddle by Paul Simon releasing Graceland. | 0:33:03 | 0:33:07 | |
Suddenly, people's ears had been opened. | 0:33:07 | 0:33:10 | |
# As if everybody knows what I'm talking about | 0:33:10 | 0:33:14 | |
# As if everybody here would know exactly what I was talking about | 0:33:14 | 0:33:18 | |
# Talking about diamonds on the soles of her shoes. # | 0:33:18 | 0:33:22 | |
African music was finally getting | 0:33:22 | 0:33:23 | |
increased exposure in the mainstream. | 0:33:23 | 0:33:25 | |
And by the late '80s, Salif Keita and Youssou N'Dour were starting | 0:33:27 | 0:33:31 | |
to take the stage in front of a global audience. | 0:33:31 | 0:33:34 | |
HE SINGS | 0:33:35 | 0:33:36 | |
The time was surely right for an African superstar. | 0:33:41 | 0:33:44 | |
Leading the search was the man who helped Bob Marley | 0:33:47 | 0:33:49 | |
reach a rock audience. | 0:33:49 | 0:33:51 | |
Head of Mango and Island Records, Chris Blackwell. | 0:33:51 | 0:33:54 | |
Chris Blackwell, as a believer in a certain sort of music | 0:33:54 | 0:33:58 | |
that was very dear to him, he had the missionary zeal to make it | 0:33:58 | 0:34:01 | |
accessible to a wider audience. | 0:34:01 | 0:34:04 | |
At which point, Blackwell discovered an acoustic album | 0:34:10 | 0:34:14 | |
by a young Senegalese singer called Baaba Maal. | 0:34:14 | 0:34:17 | |
It was based on West African folk songs | 0:34:24 | 0:34:26 | |
that Maal and guitarist Mansour Seck had collected as students. | 0:34:26 | 0:34:30 | |
We were just a group of young people | 0:34:38 | 0:34:40 | |
and we went into that journey, | 0:34:40 | 0:34:42 | |
going from village to play. Sometimes, I spent two weeks | 0:34:42 | 0:34:46 | |
in a place. Sometimes, one month. | 0:34:46 | 0:34:48 | |
In a journey like that, people come to you, naturally. | 0:34:48 | 0:34:53 | |
Sometimes you meet an older person who'll say, "Hey, boys, come here. | 0:34:53 | 0:34:56 | |
"I have one song or two songs that I want to teach you. | 0:34:56 | 0:35:01 | |
"Take your guitar and play that melody, that rhythm." | 0:35:01 | 0:35:06 | |
And this is how we get a lot of the songs off Djam Leelii. | 0:35:06 | 0:35:09 | |
Blackwell entrusted Mango A&R man Jumbo Van Renen | 0:35:12 | 0:35:16 | |
to find a producer to work on an album with Baaba. | 0:35:16 | 0:35:18 | |
I was living in Hackney as, pretty well, an underground DJ | 0:35:18 | 0:35:24 | |
and suddenly, Jumbo phones up and says, | 0:35:24 | 0:35:26 | |
"Would you like to go to Africa and work | 0:35:26 | 0:35:28 | |
"with Baba Maal?" | 0:35:28 | 0:35:29 | |
I went round his house and then he started singing | 0:35:35 | 0:35:39 | |
a song to his son. | 0:35:39 | 0:35:41 | |
HE SINGS | 0:35:41 | 0:35:44 | |
I just said to him, | 0:35:45 | 0:35:47 | |
"If we can just record that moment, that would be perfect." | 0:35:47 | 0:35:51 | |
And he went, "Oh! | 0:35:51 | 0:35:52 | |
"So you're not here to make a disco record?"! | 0:35:52 | 0:35:55 | |
The producer from East London and the singer from North Senegal | 0:36:00 | 0:36:04 | |
had just a few days to put an album together | 0:36:04 | 0:36:05 | |
in a makeshift studio. | 0:36:05 | 0:36:07 | |
One night in Dakar, Baaba Maal turned up with his kora player | 0:36:08 | 0:36:13 | |
and he said, "Nope, we're not going to do the track with the band. | 0:36:13 | 0:36:17 | |
"I want sing a song for you." And he went in the studio. | 0:36:17 | 0:36:20 | |
surrounded by the band, his griots - the wise men - they were all there. | 0:36:20 | 0:36:24 | |
Some of his family, the kids, and he sang | 0:36:24 | 0:36:28 | |
a track called Daande Lenol - the voice of my people, | 0:36:28 | 0:36:31 | |
the voice of my race. | 0:36:31 | 0:36:32 | |
It was just amazing. | 0:36:32 | 0:36:34 | |
I had an epiphany. | 0:36:34 | 0:36:36 | |
HE SINGS | 0:36:36 | 0:36:40 | |
The following year, they went back into the studio in Dakar | 0:37:04 | 0:37:08 | |
to record a new album, Firin' in Fouta, | 0:37:08 | 0:37:11 | |
which they hoped would push Baaba into the charts. | 0:37:11 | 0:37:15 | |
When we turned up, all of Baaba Maal's band | 0:37:15 | 0:37:17 | |
were completely conversant with modern technology. | 0:37:17 | 0:37:20 | |
They were itching. Any idea they were these, kind of, | 0:37:20 | 0:37:23 | |
innocent noble savages who were going to be, kind of, | 0:37:23 | 0:37:27 | |
corrupted by Western influences was rubbish. | 0:37:27 | 0:37:30 | |
What I found was a very sophisticated musical scene | 0:37:31 | 0:37:36 | |
that was deprived of technology. | 0:37:36 | 0:37:38 | |
I say, I want | 0:37:40 | 0:37:42 | |
this album to be a meeting between whatever fascinated me | 0:37:42 | 0:37:47 | |
into the West - like this modern beat, the bass and drum | 0:37:47 | 0:37:53 | |
and all the programming, like that. I think you can work very well | 0:37:53 | 0:37:58 | |
with African music. It depends on how you put it together. | 0:37:58 | 0:38:01 | |
We went up to the north of Senegal, borders of Mauritania, | 0:38:01 | 0:38:05 | |
Baaba Maal's ancestral homeland. | 0:38:05 | 0:38:07 | |
THEY CHANT | 0:38:07 | 0:38:10 | |
We were recording everyone and everything. We recorded the women | 0:38:15 | 0:38:20 | |
pounding the grain. We tried to get microphones in the earth, | 0:38:20 | 0:38:23 | |
to get the sound of the earth. | 0:38:23 | 0:38:25 | |
And then I go to my local people and say, | 0:38:32 | 0:38:36 | |
"Hey, listen to that beat. Refer yourself to that traditional dance | 0:38:36 | 0:38:41 | |
"or that traditional drumming and you can do the millet pounding | 0:38:41 | 0:38:45 | |
"in that rhythm. It will work with that beat." | 0:38:45 | 0:38:47 | |
HE SINGS | 0:38:47 | 0:38:50 | |
It's the kind of work that was | 0:39:05 | 0:39:09 | |
really exciting, because nothing was planned, | 0:39:09 | 0:39:11 | |
but at the same time, there was a lot of experimentation. | 0:39:11 | 0:39:14 | |
Baaba was such a huge star back home in Northern Senegal that he had | 0:39:20 | 0:39:24 | |
at his disposal an almost limitless number of musical contributors. | 0:39:24 | 0:39:29 | |
When we turned up in Podor, we were led into the town | 0:39:29 | 0:39:34 | |
by a griot on a white horse. | 0:39:34 | 0:39:37 | |
The whole community were there and they were all chanting. | 0:39:37 | 0:39:40 | |
And they were all singing for Baaba. | 0:39:40 | 0:39:42 | |
It was like the rhythm even of the voices of the young people chanting, | 0:39:45 | 0:39:49 | |
"Baaba! Avec Baaba!" It goes with the house music, that beat. | 0:39:49 | 0:39:52 | |
It goes really well. | 0:39:52 | 0:39:53 | |
CHANT: Baba! Avec Baaba! | 0:39:53 | 0:39:56 | |
In October 1994, Firin' in Fouta was released. | 0:40:05 | 0:40:09 | |
It mixed ragga with Senegalese drums, house music with hip-hop, | 0:40:09 | 0:40:14 | |
salsa with swing. | 0:40:14 | 0:40:16 | |
His experimental fusion was rewarded with a Grammy nomination. | 0:40:23 | 0:40:27 | |
But a global mainstream audience would prove more elusive. | 0:40:32 | 0:40:36 | |
It was interesting, the idea of Baaba Maal, | 0:40:42 | 0:40:44 | |
who, on the surface, seems to have everything to be a new superstar. | 0:40:44 | 0:40:48 | |
Never quite achieving it. | 0:40:48 | 0:40:49 | |
Getting a lot of loyal followers, | 0:40:49 | 0:40:51 | |
getting a lot of great-sounding records, | 0:40:51 | 0:40:54 | |
always just on the verge of it happening. | 0:40:54 | 0:40:56 | |
But for some reason, the adjustment of a Baaba Maal sound, | 0:40:56 | 0:41:00 | |
as much as they tried, didn't seem to lend itself | 0:41:00 | 0:41:03 | |
to the adjustment of the Bob Marley sound. | 0:41:03 | 0:41:05 | |
But just months before Firin' in Fouta came out, | 0:41:05 | 0:41:09 | |
fellow Senegalese star, Youssou N'Dour, | 0:41:09 | 0:41:11 | |
released a duet he had recorded with Neneh Cherry. | 0:41:11 | 0:41:14 | |
# Into this world, it has no concept | 0:41:14 | 0:41:19 | |
# Of the tone of skin it's living in | 0:41:19 | 0:41:23 | |
# It's not a second Seven seconds away | 0:41:23 | 0:41:28 | |
# Just as long as I stay | 0:41:28 | 0:41:31 | |
# I'll be waiting | 0:41:31 | 0:41:34 | |
# It's not a second Seven seconds away | 0:41:34 | 0:41:40 | |
# Just as long as I stay. # | 0:41:40 | 0:41:43 | |
It proved it was possible for an African artist | 0:41:43 | 0:41:46 | |
to have a global hit. All you needed was the right pop song. | 0:41:46 | 0:41:50 | |
Would Baba Maal just work as Pop? | 0:41:50 | 0:41:52 | |
But then if people went to Baaba Maal because it was under Pop, | 0:41:52 | 0:41:55 | |
they would immediately dismiss it, cos it's not their kind of pop. | 0:41:55 | 0:41:59 | |
So what would it work under? | 0:41:59 | 0:42:00 | |
Unfortunately, it works under World, cos that category now exists. | 0:42:00 | 0:42:03 | |
MUSIC: "In An English Country Garden" | 0:42:03 | 0:42:07 | |
In a small Wiltshire village outside Bath, Peter Gabriel had set up | 0:42:12 | 0:42:16 | |
a studio complex and record label to harness world music in one place. | 0:42:16 | 0:42:22 | |
He called it Real World. | 0:42:22 | 0:42:24 | |
Just as the way that the WOMAD Festival | 0:42:24 | 0:42:27 | |
was aiming to give | 0:42:27 | 0:42:28 | |
equal billing of music from different corners of the continent, | 0:42:28 | 0:42:33 | |
alongside Western pop names, if you like, | 0:42:33 | 0:42:35 | |
we wanted to have a record label that did the same. | 0:42:35 | 0:42:38 | |
The Real World Recording Weeks | 0:42:43 | 0:42:45 | |
were these extraordinary events that we started. We had a series of them, | 0:42:45 | 0:42:49 | |
beginning in 1991. | 0:42:49 | 0:42:52 | |
The idea was to turn the whole of the studio here at Real World | 0:42:52 | 0:42:56 | |
into a, sort of, recording festival. | 0:42:56 | 0:42:58 | |
'People would get together.' | 0:43:09 | 0:43:11 | |
You might have an Egyptian string section and a Japanese percussionist | 0:43:11 | 0:43:15 | |
in one room, with, I don't know, Paul Brennan from Clannad. | 0:43:15 | 0:43:18 | |
It was across the threshold | 0:43:27 | 0:43:30 | |
of the Real World studios | 0:43:30 | 0:43:31 | |
that one of the biggest world music stars of the '90s would emerge. | 0:43:31 | 0:43:35 | |
It was actually Pete Townshend who said, | 0:43:35 | 0:43:38 | |
"You must hear kuali music. It's fantastic." | 0:43:38 | 0:43:41 | |
I think my experience, when I first heard Nusrat | 0:43:41 | 0:43:45 | |
was very much the same. | 0:43:45 | 0:43:46 | |
It was a very powerful, sort of spiritual feeling. | 0:43:46 | 0:43:50 | |
I get tingles in the back of my neck. | 0:43:50 | 0:43:52 | |
THEY SING | 0:43:52 | 0:43:55 | |
Nusrat Fateh Ali Khan was a sufi from Pakistan, | 0:44:27 | 0:44:30 | |
who devoted his whole life to qawwali, | 0:44:30 | 0:44:33 | |
the spiritual music of Islam. | 0:44:33 | 0:44:35 | |
Since the late 1970s, he'd been distributing his music | 0:44:43 | 0:44:46 | |
through a small record label in Birmingham. | 0:44:46 | 0:44:48 | |
To the broad Asian audience in Britain, he was already a huge star, | 0:44:57 | 0:45:01 | |
whose music transcended the boundaries of faith. | 0:45:01 | 0:45:04 | |
I went to a local performance in a community centre, | 0:45:08 | 0:45:12 | |
which was an old cinema. I think it was in Southall. | 0:45:12 | 0:45:16 | |
THEY SING | 0:45:16 | 0:45:19 | |
People were rushing to the stage and throwing themselves at the stage. | 0:45:26 | 0:45:30 | |
I think that was quite... Something that I had never seen before | 0:45:30 | 0:45:34 | |
in any kind of music performance. It was like watching a punk gig. | 0:45:34 | 0:45:38 | |
People were just going crazy. | 0:45:38 | 0:45:40 | |
In 1985, Nusrat Fateh Ali Khan | 0:45:59 | 0:46:01 | |
found himself on the bill at WOMAD, | 0:46:01 | 0:46:03 | |
alongside The Fall and New Order. | 0:46:03 | 0:46:06 | |
For whatever the reason, | 0:46:06 | 0:46:08 | |
it was, kind of, a hotly-anticipated performance. | 0:46:08 | 0:46:11 | |
Everybody there knew that this was an artist that | 0:46:11 | 0:46:14 | |
they should go to see, even though I don't think anybody | 0:46:14 | 0:46:17 | |
in the audience had ever seen him before. | 0:46:17 | 0:46:19 | |
HE SINGS | 0:46:28 | 0:46:31 | |
After ten minutes, more audience came. | 0:46:53 | 0:46:56 | |
After 20 minutes, more audience came. | 0:46:56 | 0:46:59 | |
And after 30 minutes - packed. | 0:46:59 | 0:47:02 | |
The arena was packed. | 0:47:02 | 0:47:04 | |
The energy and the intensity of the night just grew and grew and grew | 0:47:11 | 0:47:17 | |
and, at points where you just felt, "My gosh, this is the height, | 0:47:17 | 0:47:20 | |
"this is fantastic", | 0:47:20 | 0:47:23 | |
it would then just get amped up even another notch. | 0:47:23 | 0:47:27 | |
It just made this huge impact. | 0:48:13 | 0:48:15 | |
It really just was one of those moments, I think. | 0:48:15 | 0:48:18 | |
Nusrat Fateh Ali Khan obviously had an extraordinary experience there | 0:48:21 | 0:48:24 | |
and a bit of a revelation that there was this new audience out there, | 0:48:24 | 0:48:28 | |
because straight after the festival appearance, the following week | 0:48:28 | 0:48:32 | |
he went in and recorded two albums' worth of music for us | 0:48:32 | 0:48:36 | |
and he decided to arrange the music | 0:48:36 | 0:48:39 | |
with an accompaniment of a guitar and a mandolin, | 0:48:39 | 0:48:42 | |
and I think he felt that that would be something | 0:48:42 | 0:48:45 | |
which would be something | 0:48:45 | 0:48:46 | |
that could help to introduce the music to western ears. | 0:48:46 | 0:48:48 | |
Aside from the Sufi stuff, the mystic stuff, | 0:48:57 | 0:49:01 | |
the devotional, the religious element, | 0:49:01 | 0:49:03 | |
it was just a bloody great dance-floor filler | 0:49:03 | 0:49:06 | |
whenever I went out | 0:49:06 | 0:49:07 | |
and, you know, those rare occasions when he did a live gig. | 0:49:07 | 0:49:10 | |
If you wanted to get the buggers on the dance floor, | 0:49:10 | 0:49:12 | |
even if they'd never heard it before, all you had to do was go, | 0:49:12 | 0:49:15 | |
"Allah Hoo, Allah Hoo!" and they were out there! Fantastic! | 0:49:15 | 0:49:18 | |
Nusrat was becoming more and more aware | 0:49:22 | 0:49:25 | |
of the power of his qawwali to reach new audiences. | 0:49:25 | 0:49:28 | |
In 1990 he met up with Real World producer Michael Brook | 0:49:35 | 0:49:38 | |
to collaborate on an album for the first time. | 0:49:38 | 0:49:41 | |
'One thing that I quickly learned | 0:49:43 | 0:49:45 | |
'is that Nusrat likes to sing for a long time. | 0:49:45 | 0:49:48 | |
'My backing tracks were only four or five minutes long, | 0:49:48 | 0:49:51 | |
'so it seemed we were always rewinding the tape.' | 0:49:51 | 0:49:55 | |
And so we just recorded very long takes | 0:49:55 | 0:49:57 | |
so he could improvise as long as he wanted. | 0:49:57 | 0:49:59 | |
And that worked out really well, | 0:49:59 | 0:50:01 | |
although we then had a massive editing challenge. | 0:50:01 | 0:50:03 | |
HE SINGS | 0:50:03 | 0:50:06 | |
In the West - do, re, mi. | 0:50:11 | 0:50:13 | |
'Qawwali is a kind of' | 0:50:16 | 0:50:17 | |
spiritual, sacred music | 0:50:17 | 0:50:20 | |
that has lyrics with meaning. | 0:50:20 | 0:50:22 | |
And I wasn't that clear on the distinction at the time. | 0:50:22 | 0:50:25 | |
So I just cut it up in a way that... So it sounded good. | 0:50:25 | 0:50:29 | |
But, anyway, it was a big problem, | 0:50:31 | 0:50:34 | |
because I had cut up these sacred lyrics | 0:50:34 | 0:50:37 | |
in ways that they were nonsense. | 0:50:37 | 0:50:40 | |
He said, "Well, OK." But, in fact, | 0:50:46 | 0:50:49 | |
he got a lot of criticism at home. | 0:50:49 | 0:50:52 | |
Back home in Pakistan, Nusrat was an even bigger star, | 0:50:54 | 0:50:58 | |
with millions of fans watching his every move. | 0:50:58 | 0:51:01 | |
It's like if you had the Beatles, Frank Sinatra | 0:51:03 | 0:51:07 | |
and Elvis all in one person. | 0:51:07 | 0:51:09 | |
'It's hard to exaggerate how big a deal he is there. | 0:51:11 | 0:51:14 | |
'And if you went into the music store - which I did - | 0:51:14 | 0:51:18 | |
'there would be a wall, you know,' | 0:51:18 | 0:51:20 | |
like the size of this book shelf, | 0:51:20 | 0:51:22 | |
'and half would be him | 0:51:22 | 0:51:25 | |
'and half would be everybody else.' | 0:51:25 | 0:51:27 | |
He lived in a very grand house in Lahore, as was appropriate, | 0:51:29 | 0:51:32 | |
and it was almost like a sort of medieval court, | 0:51:32 | 0:51:35 | |
where he was at the centre of all this activity. | 0:51:35 | 0:51:38 | |
'Very Louis XIV.' | 0:51:41 | 0:51:43 | |
Like all this really ornate French-looking furniture. | 0:51:43 | 0:51:48 | |
And there was always a sort of anteroom | 0:51:48 | 0:51:51 | |
full of people waiting to meet him. | 0:51:51 | 0:51:54 | |
People coming with gifts or asking advice. | 0:51:54 | 0:51:57 | |
But basically, there was a host of people | 0:51:57 | 0:52:00 | |
waiting to meet the great master. | 0:52:00 | 0:52:02 | |
The recording of Mustt Mustt was not without controversy | 0:52:08 | 0:52:12 | |
amongst Nusrat's more orthodox fans, | 0:52:12 | 0:52:14 | |
who saw his experimentations with the West as a step too far. | 0:52:14 | 0:52:19 | |
Over the years, there've been a few people | 0:52:24 | 0:52:26 | |
who've sort of been concerned about your defiling, | 0:52:26 | 0:52:29 | |
or kind of diluting something, | 0:52:29 | 0:52:31 | |
but the fact that he would like a KORG synthesiser, | 0:52:31 | 0:52:35 | |
or something modern or different than his tradition, | 0:52:35 | 0:52:39 | |
I don't think in any way meant he didn't like his tradition. | 0:52:39 | 0:52:43 | |
It wasn't a rejection in any sense. | 0:52:43 | 0:52:46 | |
It was more an acceptance of something new. | 0:52:46 | 0:52:49 | |
THEY PLAY AND SING | 0:52:49 | 0:52:52 | |
At the time of the release of Mustt Mustt, | 0:52:56 | 0:52:59 | |
the emerging UK dance scene | 0:52:59 | 0:53:01 | |
was starting to discover new global sounds. | 0:53:01 | 0:53:04 | |
I think there's something transcendental | 0:53:04 | 0:53:07 | |
about Nusrat Fateh Ali Khan's music. | 0:53:07 | 0:53:09 | |
The sort of repetition in it, | 0:53:09 | 0:53:11 | |
the way he goes through this process | 0:53:11 | 0:53:14 | |
of getting himself into an ecstatic state, | 0:53:14 | 0:53:17 | |
that really engulfs the audience. | 0:53:17 | 0:53:20 | |
There's something there that seemed to sit comfortably | 0:53:20 | 0:53:24 | |
with dance music at that period of time. | 0:53:24 | 0:53:27 | |
The title track was remixed | 0:53:29 | 0:53:31 | |
by British trip-hop group Massive Attack, | 0:53:31 | 0:53:34 | |
and Nusrat's invigorating qawwali | 0:53:34 | 0:53:36 | |
also inspired a generation of British Asian dance producers | 0:53:36 | 0:53:39 | |
in search of a new cultural identity. | 0:53:39 | 0:53:43 | |
But, in 1997, Nusrat Fateh Ali Khan died suddenly, | 0:53:43 | 0:53:46 | |
leaving behind hundreds of recordings | 0:53:46 | 0:53:49 | |
and millions of fans around the world. | 0:53:49 | 0:53:52 | |
Throughout the '90s, fusion and dance electronica | 0:53:58 | 0:54:01 | |
had been at the cutting edge of popular music. | 0:54:01 | 0:54:04 | |
But towards the end of the '90s, | 0:54:04 | 0:54:06 | |
one of the biggest world music hits of all time would emerge, | 0:54:06 | 0:54:10 | |
and instead of looking to the future, | 0:54:10 | 0:54:13 | |
it would make the world audience turn towards a vanished past. | 0:54:13 | 0:54:16 | |
The original idea for the album that became Buena Vista Social Club | 0:54:19 | 0:54:23 | |
was a collaboration of some Malian musicians and some Cuban musicians. | 0:54:23 | 0:54:27 | |
And then I thought it might be quite nice | 0:54:27 | 0:54:29 | |
to see if Ry Cooder might be interested in working on it as well. | 0:54:29 | 0:54:32 | |
But then just before we were supposed to make the trip, | 0:54:32 | 0:54:35 | |
I learned that the Malians couldn't come. | 0:54:35 | 0:54:38 | |
So I told Ry that we couldn't get them, | 0:54:38 | 0:54:41 | |
he said, "Let's go anyway and see what happens." | 0:54:41 | 0:54:44 | |
Ry Cooder and World Circuit's Nick Gold | 0:54:46 | 0:54:50 | |
had worked together with musicians around the world, | 0:54:50 | 0:54:53 | |
but never in Cuba. | 0:54:53 | 0:54:54 | |
With an album to record and musicians to find, | 0:54:57 | 0:54:59 | |
they turned to local band leader Juan de Marcos Gonzalez. | 0:54:59 | 0:55:03 | |
I was the one that selected the musicians, | 0:55:04 | 0:55:07 | |
because Nick knew, of course, the music, | 0:55:07 | 0:55:10 | |
but he didn't know the people. | 0:55:10 | 0:55:12 | |
Marcos would say, "I've found this musician, | 0:55:14 | 0:55:16 | |
"I've found that musician!" And a lot of those musicians, | 0:55:16 | 0:55:19 | |
they hadn't played or sung for a long, long time. | 0:55:19 | 0:55:22 | |
You know, they had their glory days in the '50s | 0:55:22 | 0:55:24 | |
and they were massive stars in the '50s. | 0:55:24 | 0:55:27 | |
So to come back into the studio was just incredible. | 0:55:27 | 0:55:31 | |
'In particular for Ruben.' | 0:55:34 | 0:55:36 | |
'You'd get to the studio and he was sat there waiting at the door' | 0:55:45 | 0:55:47 | |
and you'd unlock the studio | 0:55:47 | 0:55:49 | |
and he had sort of this little shuffling run he did, | 0:55:49 | 0:55:51 | |
he'd run to the piano and open it, | 0:55:51 | 0:55:53 | |
and he'd play and he'd play and he'd play and he'd play all day. | 0:55:53 | 0:55:56 | |
Uno, dos, uno, dos, tres. | 0:55:56 | 0:55:58 | |
# Y llegando bailadores, comay | 0:55:58 | 0:56:02 | |
# Ra | 0:56:02 | 0:56:04 | |
# Por los caminos atascados. # | 0:56:04 | 0:56:09 | |
'People were suggesting songs all the time, | 0:56:11 | 0:56:13 | |
'and they weren't suggesting them by saying, "Can I do this song?" | 0:56:13 | 0:56:16 | |
'They were just playing them.' | 0:56:16 | 0:56:18 | |
But they'd all be playing their own songs at the same time in the studio. | 0:56:18 | 0:56:21 | |
It was like a laboratory, everything was...flowing. | 0:56:21 | 0:56:27 | |
I remember at one point we wanted to do Dos Gardenias, a bolero, | 0:56:27 | 0:56:31 | |
and I think Puntillita was singing it, | 0:56:31 | 0:56:33 | |
but he's got a very sort of hard, declamatory voice, | 0:56:33 | 0:56:36 | |
and Ry asked if there was a singer with a softer voice to sing it, | 0:56:36 | 0:56:39 | |
and Marcos sort of stood there and he went, "Yes!" | 0:56:39 | 0:56:41 | |
He sort of beamed and literally ran out the studio. | 0:56:41 | 0:56:44 | |
An hour, two hours later, he came back in with this... | 0:56:44 | 0:56:50 | |
man who was just... | 0:56:50 | 0:56:52 | |
I mean, this beautiful man. He sort of walked like a cat. | 0:56:52 | 0:56:57 | |
'And it was Ibrahim Ferrer' | 0:57:02 | 0:57:03 | |
and he started to sing this song. | 0:57:03 | 0:57:05 | |
HE SINGS: | 0:57:09 | 0:57:11 | |
# Dos gardenias para ti | 0:57:11 | 0:57:14 | |
# Con ellas quiero decir | 0:57:14 | 0:57:17 | |
# Te quiero | 0:57:19 | 0:57:20 | |
# Te adoro | 0:57:20 | 0:57:23 | |
# Mi vida | 0:57:23 | 0:57:26 | |
# Ponles toda tu atencion | 0:57:27 | 0:57:30 | |
# Que seran tu corazon | 0:57:30 | 0:57:34 | |
# Y el mio... # | 0:57:34 | 0:57:37 | |
After the Cuban Revolution in 1959, | 0:57:37 | 0:57:40 | |
the Communist Government | 0:57:40 | 0:57:42 | |
began closing nightclubs and entertainment venues, | 0:57:42 | 0:57:45 | |
including the once-famous Buena Vista Social Club. | 0:57:45 | 0:57:49 | |
Musicians were out of work, and before long, | 0:57:49 | 0:57:52 | |
even their music fell out of fashion. | 0:57:52 | 0:57:55 | |
Relics of a forgotten past. | 0:57:55 | 0:57:57 | |
The room that we recorded in | 0:57:57 | 0:58:00 | |
was this gorgeous room built in the '50s | 0:58:00 | 0:58:02 | |
by a record company called Panart, | 0:58:02 | 0:58:05 | |
In these tiny little back streets of Cuba. | 0:58:05 | 0:58:08 | |
You would go in this little room, wind up these stairs | 0:58:08 | 0:58:10 | |
and this huge, beautiful room would be revealed to you. | 0:58:10 | 0:58:14 | |
Ry wanted everything mic'd ambiently | 0:58:14 | 0:58:16 | |
because he fell in love with the room. | 0:58:16 | 0:58:18 | |
'At the time, the Cubans would separate everything, | 0:58:31 | 0:58:34 | |
'close-mic everything as possibly as they could, | 0:58:34 | 0:58:37 | |
'so the whole idea' | 0:58:37 | 0:58:38 | |
of recording them ambiently | 0:58:38 | 0:58:40 | |
was very, very unusual. | 0:58:40 | 0:58:42 | |
Originally, in the '50s, they would have recorded like that. | 0:58:42 | 0:58:45 | |
'The Buena Vista Social Club sounds like a rehearsal' | 0:58:53 | 0:58:57 | |
in your house. | 0:58:57 | 0:58:58 | |
Like if you have all of these outstanding old guys | 0:58:58 | 0:59:02 | |
surrounding you, having a drink | 0:59:02 | 0:59:04 | |
and smoking good cigars and singing for you, | 0:59:04 | 0:59:07 | |
and this was very special. | 0:59:07 | 0:59:09 | |
'At the end of the recording we were elated, | 0:59:24 | 0:59:26 | |
'because, you know, we finished' | 0:59:26 | 0:59:28 | |
and you play the music back and, really... | 0:59:28 | 0:59:31 | |
it was very apparent that something wonderful was there. | 0:59:31 | 0:59:34 | |
When the album was released, | 0:59:38 | 0:59:40 | |
few outside the increasingly niche world-music market took much notice. | 0:59:40 | 0:59:45 | |
Then suddenly sales started to rise. And rise. | 0:59:47 | 0:59:51 | |
I don't know. Maybe a few hundred thousand, I thought we'd sell. | 0:59:55 | 1:00:00 | |
But, yeah, sold millions. | 1:00:00 | 1:00:03 | |
You did start to hear it everywhere. | 1:00:06 | 1:00:08 | |
You'd go to a cafe and you'd hear it. You'd go to a bar and you'd hear it. | 1:00:08 | 1:00:11 | |
Your mum's friend had heard it, your neighbour had heard it. | 1:00:11 | 1:00:14 | |
For a little while, it was sort of inescapable. | 1:00:14 | 1:00:17 | |
Before long, the Buena Vista Social Club album became synonymous | 1:00:22 | 1:00:25 | |
with the growing high street coffee culture | 1:00:25 | 1:00:28 | |
and a familiar soundtrack at many dinner parties. | 1:00:28 | 1:00:31 | |
The great triumph of the Buena Vista Social Club record was marketing. | 1:00:32 | 1:00:36 | |
World Circuit Records are masters of marketing and presentation. | 1:00:36 | 1:00:40 | |
It looked beautiful. | 1:00:40 | 1:00:42 | |
We sent out hundreds and hundreds of copies, | 1:00:42 | 1:00:45 | |
because we just thought there was something special there. | 1:00:45 | 1:00:48 | |
A year after recording, | 1:00:52 | 1:00:53 | |
the original line-up embarked on a tour of Europe and the US. | 1:00:53 | 1:00:58 | |
When we called them to go on tour, it was the first time in years | 1:00:58 | 1:01:03 | |
that they went out of the country - in YEARS. | 1:01:03 | 1:01:06 | |
Touring with them was fantastic. They were very excited | 1:01:11 | 1:01:15 | |
and the rider was great, | 1:01:15 | 1:01:16 | |
it wasn't beer on the rider, it was warm milk, which was quite nice. | 1:01:16 | 1:01:20 | |
My wife became the nurse for the old guys, to give them the medicines | 1:01:23 | 1:01:28 | |
because they were musicians and they forgot the medicines. | 1:01:28 | 1:01:31 | |
One of the stops on the tour was playing at Carnegie Hall, | 1:01:35 | 1:01:39 | |
New York's leading concert venue. | 1:01:39 | 1:01:42 | |
I think that would have been the first time | 1:01:42 | 1:01:44 | |
nearly all of them had been to the states. | 1:01:44 | 1:01:46 | |
There was an embargo, we shouldn't forget. | 1:01:46 | 1:01:48 | |
They didn't just not play there cos they chose not to, | 1:01:48 | 1:01:51 | |
they weren't allowed to play there. | 1:01:51 | 1:01:53 | |
For the past 40 years, the relationship between Cuba | 1:01:58 | 1:02:01 | |
and the USA had been marked with fear and distrust. | 1:02:01 | 1:02:04 | |
Since then, Cuba had remained cut off from its neighbouring superpower. | 1:02:06 | 1:02:11 | |
It was a very rare chance that we got these licences | 1:02:12 | 1:02:15 | |
to bring them in to play, | 1:02:15 | 1:02:17 | |
so, you know, America hadn't seen them, | 1:02:17 | 1:02:19 | |
it wasn't just that they hadn't seen America, America hadn't seen them. | 1:02:19 | 1:02:23 | |
APPLAUSE AND CHEERING | 1:02:23 | 1:02:25 | |
They walked on stage and the place erupted. | 1:02:26 | 1:02:29 | |
And it's loud, that place, when it's full, | 1:02:29 | 1:02:32 | |
and you know, a shiver goes up your spine. | 1:02:32 | 1:02:35 | |
HE SINGS IN SPANISH | 1:02:35 | 1:02:39 | |
There was a huge sort of warmth coming from the audience to the stage | 1:02:50 | 1:02:55 | |
and they really played. Marcos had them, he was firing them up. | 1:02:55 | 1:02:59 | |
APPLAUSE AND CHEERING | 1:03:05 | 1:03:09 | |
Gracias! | 1:03:13 | 1:03:14 | |
It was very important to play there | 1:03:14 | 1:03:16 | |
and to see the response of the audience. | 1:03:16 | 1:03:19 | |
The people standing, the people clapping | 1:03:23 | 1:03:26 | |
and singing the Cuban music, the music we grew up with. | 1:03:26 | 1:03:29 | |
It was unbelievable. | 1:03:29 | 1:03:31 | |
It was a story made for cinema, | 1:03:36 | 1:03:38 | |
and luckily, director Wim Wenders was there to film it all. | 1:03:38 | 1:03:41 | |
When his documentary was nominated for an Oscar, | 1:03:43 | 1:03:46 | |
the old players of the Buena Vista Social Club | 1:03:46 | 1:03:49 | |
became global stars on screen as well as on stage. | 1:03:49 | 1:03:53 | |
Now, everybody, after the success of the Buena Vista, | 1:03:53 | 1:03:56 | |
wanted to make money with the name. | 1:03:56 | 1:03:58 | |
Spirit of Buena Vista, The Passion of Buena Vista, | 1:03:58 | 1:04:02 | |
Live From Buena Vista, The Bar at Buena Vista. | 1:04:02 | 1:04:05 | |
Even Nick had to make a trademark of the name. | 1:04:05 | 1:04:09 | |
People started recording a lot of old Cubans after that! | 1:04:09 | 1:04:14 | |
I got asked a lot, "When is the next Buena Vista? | 1:04:18 | 1:04:21 | |
"What's happening next? What's next? What's next?" | 1:04:21 | 1:04:25 | |
Sort of, "Let's do a Buena Vista there," | 1:04:25 | 1:04:27 | |
or, "Let's do a Buena Vista here," which I found a bit weird, | 1:04:27 | 1:04:31 | |
because it wasn't, it was very... not contrived, this thing, | 1:04:31 | 1:04:35 | |
we partly made it by accident. | 1:04:35 | 1:04:37 | |
Accident or not, | 1:04:38 | 1:04:39 | |
the Buena Vista Social Club album hit a key formula for success. | 1:04:39 | 1:04:43 | |
Through repackaging Cuba's abandoned musical past, | 1:04:45 | 1:04:48 | |
it presented a very different country | 1:04:48 | 1:04:51 | |
before the days of Communism and embargoes. | 1:04:51 | 1:04:54 | |
In an age of increasing globalisation, | 1:04:54 | 1:04:57 | |
the feeling of stepping into a world on the verge of disappearance | 1:04:57 | 1:05:00 | |
seemed irresistible. | 1:05:00 | 1:05:01 | |
The worldwide success of Buena Vista Social Club showed | 1:05:19 | 1:05:23 | |
how music from other cultures could be presented to a global audience. | 1:05:23 | 1:05:27 | |
It was no longer enough to have the right sound. | 1:05:28 | 1:05:31 | |
Music would also need to be accompanied by a strong story | 1:05:31 | 1:05:35 | |
and some photogenic characters. | 1:05:35 | 1:05:37 | |
And like a mirage, one band emerged from the sands of the Sahara | 1:05:37 | 1:05:41 | |
with the perfect backstory. | 1:05:41 | 1:05:43 | |
The legend has it that they were going into battle | 1:05:45 | 1:05:49 | |
with AK-47s and electric guitars strapped across their backs. | 1:05:49 | 1:05:53 | |
THEY SING IN TAMASHEK | 1:05:56 | 1:05:59 | |
Tinariwen were the Tuareg nomadic warriors | 1:06:05 | 1:06:08 | |
that rose from the desert wars of Mali, | 1:06:08 | 1:06:10 | |
bringing with them a slow African blues groove. | 1:06:10 | 1:06:13 | |
Lots of bands know how to rock, but very few know how to roll | 1:06:18 | 1:06:22 | |
and Tinariwen, by God, they know how to roll! | 1:06:22 | 1:06:25 | |
THEY SING IN TAMASHEK | 1:06:33 | 1:06:36 | |
There's a slightly menacing quality, | 1:06:50 | 1:06:52 | |
a kind of gang quality about Tinariwen, | 1:06:52 | 1:06:56 | |
which I'd not really seen since the heyday of The Clash. | 1:06:56 | 1:07:00 | |
As band biographies go, even The Clash have nothing on Tinariwen. | 1:07:07 | 1:07:11 | |
When Libyan ruler Gaddafi was gathering young Tuareg men | 1:07:13 | 1:07:17 | |
to fight in his territorial wars, | 1:07:17 | 1:07:19 | |
the founding members of Tinariwen, exiled by the Malian government, | 1:07:19 | 1:07:22 | |
answered the call. | 1:07:22 | 1:07:24 | |
Along with learning how to fight, they would also pass the time | 1:07:57 | 1:08:00 | |
in the camps discovering western blues and rock music. | 1:08:00 | 1:08:04 | |
The Tuareg message was finding a new sound | 1:08:04 | 1:08:08 | |
and their home-made cassettes were traded widely throughout the Sahara. | 1:08:08 | 1:08:12 | |
The truth is that if you talk to a lot of Tuareg, | 1:08:12 | 1:08:16 | |
not even Tuareg musicians, just normal Tuareg, | 1:08:16 | 1:08:18 | |
and you say, "How did you first become aware of the Tuareg cause?" | 1:08:18 | 1:08:25 | |
It would be, "Because we listened to a cassette of a song by Tinariwen." | 1:08:25 | 1:08:30 | |
Conflicts rumbled on throughout the '90s | 1:08:41 | 1:08:44 | |
between Malian forces and Tuareg rebels. | 1:08:44 | 1:08:46 | |
Apparently they started the rebellion in June 1990 | 1:08:48 | 1:08:52 | |
with, like, six old German hunting rifles | 1:08:52 | 1:08:55 | |
and a couple of Tuareg swords or something, you know, | 1:08:55 | 1:08:59 | |
and all the old guard of Tinariwen were combatants in that rebellion, | 1:08:59 | 1:09:04 | |
they were soldiers, you know, | 1:09:04 | 1:09:06 | |
but they all considered themselves musicians first, soldiers second. | 1:09:06 | 1:09:10 | |
Their music would find a way out of the North African desert | 1:09:16 | 1:09:19 | |
when they met producer Justin Adams. | 1:09:19 | 1:09:21 | |
It was really like a Western movie or | 1:09:24 | 1:09:26 | |
what's it called, the Kurosawa movie... Seven Samurai. | 1:09:26 | 1:09:30 | |
It was like, that because one by one, | 1:09:30 | 1:09:32 | |
the dudes turned up. | 1:09:32 | 1:09:34 | |
Then there was the day that this thin guy, with tangled hair, | 1:09:41 | 1:09:46 | |
turned up where we were staying and he came in, | 1:09:46 | 1:09:49 | |
quiet to the point of... A completely introverted-looking guy. | 1:09:49 | 1:09:54 | |
He sat down in the tent where we were sitting, having tea, | 1:09:56 | 1:10:02 | |
and he got his guitar out | 1:10:02 | 1:10:03 | |
and it was a moment that still sends shivers down my spine, thinking of, | 1:10:03 | 1:10:09 | |
because he started to play the guitar so gently, just touching | 1:10:09 | 1:10:16 | |
the strings, and this absolutely mesmerisingly-beautiful scales. | 1:10:16 | 1:10:23 | |
And then hit a gentle, lilting rhythm and then started to sing. | 1:10:24 | 1:10:30 | |
There must have been ten or 15 Tuareg men or women | 1:10:30 | 1:10:33 | |
sitting around in the tent. | 1:10:33 | 1:10:35 | |
When he hit the chorus, everybody started singing. | 1:10:35 | 1:10:40 | |
HE SINGS IN TUAREG LANGUAGE | 1:10:40 | 1:10:42 | |
Everybody knew the song. | 1:10:54 | 1:10:56 | |
It was clearly an anthem, written by this guy. | 1:10:56 | 1:11:00 | |
I could tell that we were sitting with an absolute master. | 1:11:00 | 1:11:04 | |
It helped their rock image that they had a lead singer with | 1:11:09 | 1:11:11 | |
Jimi Hendrix looks | 1:11:11 | 1:11:13 | |
and Justin wasted no time getting Tinariwen into | 1:11:13 | 1:11:15 | |
whatever studio space he could find | 1:11:15 | 1:11:18 | |
in the communes of northern Mali. | 1:11:18 | 1:11:19 | |
The way that Tinariwen had recorded mostly was | 1:11:24 | 1:11:27 | |
they just used to put a cassette in their ghetto blaster, | 1:11:27 | 1:11:30 | |
sit round, play and that was the record they'd made. | 1:11:30 | 1:11:32 | |
Then that cassette would be copied. | 1:11:32 | 1:11:34 | |
TINARIWEN SING | 1:11:55 | 1:11:57 | |
Immediately after making Radio Tisdas, | 1:12:28 | 1:12:30 | |
the Tinariwen collective held a meeting of Tuaregs that, | 1:12:30 | 1:12:34 | |
by accident, became a mini festival. | 1:12:34 | 1:12:37 | |
Everyone was saying to me, | 1:12:37 | 1:12:39 | |
"When we go to the festival, you will see the camels dancing". | 1:12:39 | 1:12:41 | |
I was like, "Yeah, right. | 1:12:41 | 1:12:43 | |
"I'll see camels dancing." But sure enough, they do this fantastic thing | 1:12:43 | 1:12:48 | |
where the women sit in circles and are playing the tinde drum. | 1:12:48 | 1:12:53 | |
DRUMS PLAY | 1:12:55 | 1:12:57 | |
Suddenly, on the horizon, you see camels coming at top speed | 1:12:59 | 1:13:02 | |
towards you. | 1:13:02 | 1:13:03 | |
These guys with all the veils, amazing costumes. | 1:13:03 | 1:13:07 | |
Looking cool as hell. | 1:13:07 | 1:13:09 | |
They come as close as they can to the circles of women, | 1:13:10 | 1:13:15 | |
like young guys on motorbikes. Showing off, basically. | 1:13:15 | 1:13:19 | |
Then they start to control the camel and they circle the group | 1:13:19 | 1:13:23 | |
and this is where they do this kind of thing where | 1:13:23 | 1:13:25 | |
they control the camel and the camel dances to the music. | 1:13:25 | 1:13:30 | |
HE SINGS IN TUAREG LANGUAGE | 1:13:35 | 1:13:38 | |
Adventurous festival-goers started to descend in greater numbers, | 1:13:45 | 1:13:49 | |
hoping to glimpse a unique culture in its natural habitat. | 1:13:49 | 1:13:53 | |
The troubled existence of the Tuareg was starting to reach | 1:13:57 | 1:14:00 | |
a new audience through the music that became known as desert blues. | 1:14:00 | 1:14:04 | |
The Tuareg call their music assouf. | 1:14:38 | 1:14:41 | |
It means the pain that isn't physical. So it's the blues. | 1:14:41 | 1:14:46 | |
In 2007, Tinariwen went back into the studio | 1:14:54 | 1:14:57 | |
and emerged with a new album. | 1:14:57 | 1:14:59 | |
They embarked on a year-long tour of Europe and the US, | 1:15:02 | 1:15:04 | |
taking the Tuareg message with them. | 1:15:04 | 1:15:06 | |
I spoke to the band | 1:15:08 | 1:15:09 | |
and I said this is really your chance to communicate with the world now. | 1:15:09 | 1:15:13 | |
HE SINGS IN TUAREG LANGUAGE | 1:15:17 | 1:15:19 | |
SHE ULULATES | 1:15:39 | 1:15:41 | |
The minute they started playing live, it connected with people. | 1:15:44 | 1:15:48 | |
Tinariwen were immediately seized upon by the international media. | 1:15:50 | 1:15:53 | |
They were excited because they were beginning to see that their music | 1:15:56 | 1:16:02 | |
had a life outside the desert. | 1:16:02 | 1:16:05 | |
In the summer of 2007, Tinariwen swapped the sands of the desert | 1:16:07 | 1:16:11 | |
for the mud of Somerset and took the stage at Glastonbury. | 1:16:11 | 1:16:14 | |
HE SINGS IN TUAREG LANGUAGE | 1:16:45 | 1:16:48 | |
When you do a thing like that, | 1:16:56 | 1:16:57 | |
what's for sure is that suddenly there are 15,000 people | 1:16:57 | 1:17:01 | |
like, "What the hell is this? | 1:17:01 | 1:17:02 | |
"I've never seen anything like that before." | 1:17:02 | 1:17:05 | |
It really felt that we were beginning to go | 1:17:07 | 1:17:10 | |
way beyond the world music lovers | 1:17:10 | 1:17:13 | |
to a new crowd of guitar fans, basically. | 1:17:13 | 1:17:17 | |
It's something very difficult for music outside | 1:17:21 | 1:17:24 | |
a Western rock milieu to work | 1:17:24 | 1:17:29 | |
for a rock and pop audience in a way that is instantly convincing. | 1:17:29 | 1:17:34 | |
Tinariwen definitely do that. | 1:17:34 | 1:17:35 | |
CHEERING AND APPLAUSE | 1:18:21 | 1:18:22 | |
Thank you! Thank you! | 1:18:22 | 1:18:24 | |
Increasingly, the secret to being a world music star today is | 1:18:34 | 1:18:37 | |
the ability to present an authentic past to a modern audience. | 1:18:37 | 1:18:42 | |
In the tavernas of Lisbon, a young singer of African birth | 1:18:42 | 1:18:46 | |
was giving an old tradition a contemporary international twist. | 1:18:46 | 1:18:49 | |
SHE SINGS FADO | 1:18:51 | 1:18:56 | |
Born in Mozambique and raised in Portugal, | 1:19:00 | 1:19:03 | |
Mariza was the new face of fado. | 1:19:03 | 1:19:06 | |
SHE SINGS FADO SONG | 1:19:09 | 1:19:13 | |
APPLAUSE | 1:19:23 | 1:19:26 | |
My parents, they moved to Lisboa | 1:19:26 | 1:19:30 | |
and they rent a little taverna, | 1:19:30 | 1:19:34 | |
and fado was the music who everybody used to listen and to sing. | 1:19:34 | 1:19:40 | |
So I started singing fado at five years old. | 1:19:40 | 1:19:43 | |
Fado is Portugal's own blues music - | 1:19:48 | 1:19:51 | |
full of melancholy and a sense of despair - | 1:19:51 | 1:19:54 | |
which started life as the drunken songs | 1:19:54 | 1:19:56 | |
of sailors and fisherwomen in the 19th century. | 1:19:56 | 1:20:00 | |
When I went to high school, | 1:20:00 | 1:20:02 | |
everybody was asking me, "What do you do in your free time?" | 1:20:02 | 1:20:05 | |
And the first times I used to say, "Well, I like to sing fado. | 1:20:05 | 1:20:09 | |
And they were like, "Ooh, fado. Urgh. That's for old people." | 1:20:09 | 1:20:13 | |
And I was like, "Really?" | 1:20:13 | 1:20:15 | |
These mournful songs, with anguished lyrics about love, | 1:20:17 | 1:20:21 | |
the sea and city life, were the heartbeat of the streets of Lisbon. | 1:20:21 | 1:20:25 | |
Since the 1930s, fado had enjoyed a golden age in Portugal | 1:20:26 | 1:20:31 | |
and achieved international success with the Queen of Fado, | 1:20:31 | 1:20:34 | |
Amalia Rodrigues. | 1:20:34 | 1:20:36 | |
SHE SINGS FADO SONG | 1:20:38 | 1:20:45 | |
But since the 1980s, the blanket spread of western pop | 1:21:09 | 1:21:12 | |
meant that fado was seen as unfashionable | 1:21:12 | 1:21:15 | |
amongst young urban Portuguese - | 1:21:15 | 1:21:17 | |
an embarrassing reminder of their country's impoverished past. | 1:21:17 | 1:21:21 | |
And suddenly Amalia died. | 1:21:23 | 1:21:25 | |
And it was a very sad time for all of us Portuguese people. | 1:21:27 | 1:21:32 | |
They decide to make a tribute on television. | 1:21:33 | 1:21:37 | |
Mariza was plucked from a new generation of singers | 1:21:39 | 1:21:42 | |
to perform in her memory on national television. | 1:21:42 | 1:21:45 | |
SHE SINGS FADO | 1:21:51 | 1:21:55 | |
Everybody starts talking about the blond fado girl. | 1:22:18 | 1:22:22 | |
Suddenly I was singing in several cities in Portugal. | 1:22:22 | 1:22:27 | |
CHEERING AND APPLAUSE | 1:22:55 | 1:22:57 | |
Mariza's debut album displayed the word "fado" boldly on its cover. | 1:22:57 | 1:23:03 | |
And suddenly, boom! In Portugal, only in Portugal, | 1:23:03 | 1:23:08 | |
I sell 120,000 copies. | 1:23:08 | 1:23:12 | |
It was a lot because now only a fado record used to sell | 1:23:12 | 1:23:16 | |
about 3,000 to 5,000. | 1:23:16 | 1:23:19 | |
In 2002, Mariza broke onto the international scene, | 1:23:22 | 1:23:26 | |
performing at WOMAD. | 1:23:26 | 1:23:28 | |
-The songs you sing are called fa...fado? -Fado. -What is fado? | 1:23:39 | 1:23:44 | |
Fado is a kind of melancholic music. We don't have only melancholic fado. | 1:23:44 | 1:23:49 | |
I used to say it's like the Portuguese blues, you know. | 1:23:49 | 1:23:53 | |
Her international following was growing. | 1:24:05 | 1:24:07 | |
The winner is, | 1:24:09 | 1:24:11 | |
combining supreme elegance with all the angst of the Portuguese fado... | 1:24:11 | 1:24:16 | |
it is... | 1:24:16 | 1:24:17 | |
..the divine Mariza. | 1:24:19 | 1:24:21 | |
CHEERING AND APPLAUSE | 1:24:21 | 1:24:23 | |
Within two years, Mariza had shot to global fame, | 1:24:23 | 1:24:26 | |
selling out prestigious venues in both London and New York. | 1:24:26 | 1:24:30 | |
I mean, Mariza, I've always enjoyed. | 1:24:32 | 1:24:34 | |
Though she was brought up within fado, | 1:24:34 | 1:24:36 | |
she was born in Africa and she'd sung rock music, | 1:24:36 | 1:24:39 | |
so she brought these other kind of... This other sensibility to what she does. | 1:24:39 | 1:24:44 | |
But she's also somebody who really can sing fado amazingly. | 1:24:44 | 1:24:47 | |
I still want to sing with the basis and roots of fado, | 1:24:47 | 1:24:52 | |
but more and more I want to do my own fado. | 1:24:52 | 1:24:55 | |
'And I think that is fair with an artist. | 1:24:55 | 1:24:58 | |
'Because if you don't have your personality inside of the music, | 1:24:58 | 1:25:01 | |
'or your stamp in the music...' | 1:25:01 | 1:25:03 | |
..you're not saying anything to anyone. | 1:25:04 | 1:25:06 | |
SHE SINGS FADO | 1:25:06 | 1:25:10 | |
Mariza had given fado a 21st-century makeover, | 1:25:42 | 1:25:45 | |
with a new-found confidence in its roots, and crossover appeal. | 1:25:45 | 1:25:49 | |
The new Queen of Fado, Mariza! | 1:25:50 | 1:25:55 | |
So many artists are coming through who are like her. | 1:25:55 | 1:25:58 | |
You know, they know so much, they speak English, | 1:25:58 | 1:26:01 | |
they're sophisticated people in charge of their careers. | 1:26:01 | 1:26:03 | |
But they're also realising at a very early age | 1:26:03 | 1:26:06 | |
that what they grow from is tremendously important. | 1:26:06 | 1:26:11 | |
In other words, they put a real value on their traditions. | 1:26:11 | 1:26:13 | |
HE SINGS | 1:26:13 | 1:26:17 | |
'The world, in a way, has turned to look at its history in all sorts of ways.' | 1:26:29 | 1:26:34 | |
And that brings with it the kind of roots, if you like, | 1:26:34 | 1:26:37 | |
that a lot of this great music is about. | 1:26:37 | 1:26:40 | |
'The internet has created a dissolved chronological area | 1:26:41 | 1:26:45 | |
'as well as dissolving national borders, so the music just appears. | 1:26:45 | 1:26:49 | |
'You might hear something now that, | 1:26:54 | 1:26:55 | |
once upon a time in the '70s and '80s, would've sounded old-fashioned. | 1:26:55 | 1:26:59 | |
An antique, and therefore of no use. | 1:26:59 | 1:27:02 | |
But now it sounds fresh and therefore new and exciting. | 1:27:02 | 1:27:05 | |
'There's this mad profusion of different roots,' | 1:27:18 | 1:27:21 | |
and of people joining up | 1:27:21 | 1:27:23 | |
and exploring different beats and different styles. | 1:27:23 | 1:27:27 | |
Personally, you know, bring it on. I think it's fantastic. | 1:27:27 | 1:27:30 | |
And now it doesn't have to be called world music. | 1:27:46 | 1:27:48 | |
You're just hearing a music. | 1:27:48 | 1:27:50 | |
It's a fado or it's a singer from this country | 1:27:50 | 1:27:52 | |
or it's a rhythm from that country. | 1:27:52 | 1:27:54 | |
And it's just part of this new decentred zone, if you will. | 1:27:54 | 1:27:57 | |
The world has become dispersed and diverse. | 1:27:57 | 1:28:00 | |
This was its dream. | 1:28:03 | 1:28:04 | |
Subtitles by Red Bee Media Ltd | 1:28:23 | 1:28:26 |