AMGHAR The Godfather of Tuareg Music, Vol. 1

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Pain and protest link American blues with electric guitarists of West Africa who play assouf, which translates to feelings of longing, nostalgia and "pain that isn't physical" in Tamasheq, a language of Niger's nomadic Tuareg people. Internationally known as desert blues, this rhythmic music was born out of struggle.  While Tinariwen is its best-known proponent in the West, the other act credited with creating this style is Takrist Nakal, a group founded and led by Abdallah Oumbadougou.

Loosely translated as "rebuilding of the country," Takrist Nakal became famous among the Tuareg, which made them a threat to a succession of post-independence governments of Niger. As a call to arms, a plea for unity, or a reminder to take pride in their own culture, the music on this release, billed as a compilation of the work of Abdallah Oumbadougou, comes from anonymous sources but the recording quality is very good throughout; the musicians are presumably part of Takrist Nakal.

Despite these unknowns, the passion is unmistakable, embodied in Abdallah's intricate guitar work and crying vocals. In "Tenertin Taranin Tenertine Ounour Nin," Abdallah leads a call-and response—commonly used in American blues—that effectively mixes a love song with a wish for political harmony. The lyrics translate to: "Spread your angelic voice and speak to me of hope/ To put an end to the tug of war between my heart and my mind/ To make my doubts and uncertainties take flight."

The dynamics of  "Afrikya" are extraordinary. Over a steady groove, a chorus of voices enters to enthusiastically sing in Tamasheq, "We are prepared, standing as one, in search of our freedom," continuing to a prediction of a brighter future, "And those of us, who are/ Still standing/ One day we'll descend the mountains and serenely/ Enter the cities as they did/ In Vietnam and Ireland."  "He Ténéré" adds an active drummer playing a western drum kit, soaring voices, and rock guitar solos—all of which show just how much fun this otherwise serious music can be. More upbeat, and with greater ornamentation and rolling rhythms than Tinariwen's music, this collection is a long overdue revelation. © Robert Baird/Qobuz