Condition: 

AMG Review by Brian Olewnick  [-]

Noir et Blanc is a supremely enjoyable collaboration between Algerian-born (France-residing) composer Hector Zazou and Zairean singer Bony Bikaye, an early and inspired marriage between Central African music and post-punk funk. Zazou, who would go on to flirt with fame at the fringes of rock (working with singers like Björk and Susanne Vega), here assembled a tight little band that included Fred Frith and Marc Hollander, all swarmed over by his own electronics manipulation and, presumably, a good bit of post-production. The band lays a creamy and seductive ground for Bikaye, a singer possessed of a marvelously rich and deep voice with a tinge of sardonic humor. The music is convoluted and irresistibly funky, avoiding the clichés befalling many somewhat similar ventures from around this period (1983); even the drum machine usage works well. Hollander's clarinet and bass clarinet work adds a lush element not normally associated with this genre, giving an oddly European exoticism to what is essentially African music. Each song has its attractions, from the relentless drive of the opening "M'Pasi Ya M'Pamba" to the heartfelt longing of "Munipe Wa Kati" to the fractured mechanics of "Keba." Some of Zazou's later work would get excessively new age-y; here it's dirty grooves all the way. Any fan of Afro-funk should want this fine exemplar of the field.

Zazou / Bikaye / Cy 1* ?– Noir Et Blanc

TracklistHide Credits

Companies etc

• Phonographic Copyright (p) – Crammed Discs
• Copyright (c) – Crammed Discs
• Published By – Crammed Music
• Recorded At – Daylight Studio

Credits

• Arranged By – Zazou*
• Clarinet – Marc Hollander
• Directed By – Hector Zazou
• Electronics – Cy 1
• Guitar – Vincent Kenis
• Mixed By – Gilles Martin, Marc Hollander, Vincent Kenis
• Percussion – Chris Joris
• Recorded By – Gilles Martin
• Saxophone – Fred Wallich
• Violin – Fred Frith
• Written By – Bikaye / Loizillon / Michelli
• Written-By – Bikaye*, Michelli*, Loizillon*

Notes

Barcode and Other Identifiers

• Rights Society: BIEM/SABAM
• Label Code: LC 8689

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GOLDMINE GRADING

MINT ---- It should appear to be perfect. No scuffs or scratches, blotches or stains, labels or writing, tears or splits. Mint means perfect.

NEAR MINT ---- Otherwise mint but has one or two tiny inconsequential flaws that do not affect play. Covers should be close to perfect with minor signs of wear or age just becoming evident: slight ring-wear, minor denting to a corner, or writing on the cover should all be noted properly.

VERY GOOD PLUS ---- The record has been handled and played infrequently or very carefully. Not too far from perfect. On a disc, there may be light paper scuffs from sliding in and out of a sleeve or the vinyl or some of the original luster may be lost. A slight scratch that did not affect play would be acceptably VG+ for most collectors.

VERY GOOD ---- Record displays visible signs of handling and playing, such as loss of vinyl luster, light surface scratches, groove wear and spindle trails. Some audible surface noise, but should not overwhelm the musical experience. Usually a cover is VG when one or two of these problems are evident: ring wear, seam splits, bent corners, loss of gloss, stains, etc.

GOOD ---- Well played with little luster and significant surface noise. Despite defects, record should still play all the way through without skipping. Several cover flaws will be apparent, but should not obliterate the artwork.

POOR ---- Any record or cover that does not qualify for the above "Good" grading should be seen as Poor. Several cover flaws.