Since Angélique Kidjo had famously covered songs by rock artists such as Jimi Hendrix and Santana before, her reconstruction of Remain in Light should not come as a complete surprise.
What is truly unexpected is to realize how brilliant a match Kidjo and the Talking Heads masterpiece make.
One of the greatest and most influential rock albums of all time, Remain in Light still sounds implausibly avant-garde 40 years after its release, its originality, fantastic performances, and overall sonic weirdness so intimidating that most people would have deemed it uncoverable.
Not so for Kidjo, who clearly approached this record with different ears than the average Western listener.
Even if Byrne, Eno, and the Heads all immediately acknowledged how the album was directly inspired by Fela Kuti and Afro-beat, Remain in Light is not the sound of touristy mimicry or cultural appropriation.
In fact, much to the merit of all those involved, it sounds like a 100% Talking Heads album.
It was easier to comment upon the African influence in passing rather than pinpointing it, even more so back in 1980 when Western audiences' awareness of what would eventually be labeled world music was very limited.
Kidjo, on the other hand, has mentioned that when she first listened to "Once in a Lifetime" back in the day, she immediately recognized elements related to her musical upbringing.
Many decades later, when she decided to tackle the entire album, first for a 2017 Carnegie Hall concert and later for this studio recording, Kidjo adopted a method she was perfectly suited for.
Accompanied by a cohort of stellar musicians (chiefly among them Tony Allen, the Afro-beat drum master par excellence), Kidjo turned the album inside out, revealing the African exoskeleton in all of its glory and dimming the electronic and ambient textures -- the Eno factor, if you will.
Listening to her Remain in Light, one has the impression someone has gone over the entire music sheet with an Afro-beat highlighter, stressing every vamp, every call-and-response and interlocking rhythm pattern.
The true wonder of her version is that it does not remotely sound like an ethnomusicology master class or a precious lab experiment, the way most symphonic re-creations of rock albums do.
Much like the original, when "Born Under Punches" kicks in, her Remain in Light comes bursting out of the gates in a rollicking, irresistible wave of musical joy that only stops when the album is over, leaving the listener in a state of blessed disbelief.
| Title/Composers | Performer | Listen | Time | Size | Size | |
|---|---|---|---|---|---|---|
| 1 | Born Under Punches | Angélique Kidjo | Play | 03:49 | 8 MB | 0 MB |
| 2 | Crosseyed And Painless | Angélique Kidjo | Play | 05:28 | 12 MB | 0 MB |
| 3 | The Great Curve | Angélique Kidjo | Play | 04:08 | 9 MB | 0 MB |
| 4 | Once In A Lifetime | Angélique Kidjo | Play | 05:48 | 13 MB | 0 MB |
| 5 | Houses In Motion | Angélique Kidjo | Play | 04:33 | 10 MB | 0 MB |
| 6 | Seen And Not Seen | Angélique Kidjo | Play | 03:04 | 7 MB | 0 MB |
| 7 | Listening Wind | Angélique Kidjo | Play | 06:01 | 13 MB | 0 MB |
| 8 | The Overload | Angélique Kidjo | Play | 03:28 | 7 MB | 0 MB |
| 36 mins | 83 MB | |||||
| 0 mins | 0 MB | |||||
| Artist | Job | |
|---|---|---|
| 1 | Angélique Kidjo | Primary Artist |
Angélique Kidjo
| Quality | Format | Encoding | Description |
|---|---|---|---|
| Standard | MP3 | 320kps 44.1kHz | MP3 is an audio coding format which uses a form of lossy data compression. The highest bitrate of this format is 320kbps (kbit/s). MP3 Digital audio takes less amount of space (up to 90% reduction in size) and the quality is not as good as the original one. |
| CD Quality | FLAC | 16bit 44.1kHz | FLAC is an audio coding format which uses lossless compression. Digital audio in FLAC format has a smaller size and retains the same quality of the original Compact Disc (CD). |