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Zap Mama|A Ma Zone

A Ma Zone

Zap Mama

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Zap Mama's last album was the first one to incorporate instrumental sounds into the group's six-voice a cappella mix; it was also the first to include male voices. On A Ma Zone, group leader Marie Daulne has expanded the exploration of American R&B and hip-hop that she began with Seven. Breakbeats, jazzy upright bass, and turntable manipulation are now a part of the mix -- a mix that was already rich with European and West African influences. "Gissie" draws most deeply on Daulne's Central African Pygmy roots, with its call-and-response structure and her unearthly yodeling; "Rafiki," which opens the album, is a collaboration with Black Thought (of the Roots) that segues beautifully into "W'Happy Mama," on which Daulne shows off her own speed-rap flow (in French, of course). "'Allo 'Allo" and "Call Waiting" both hint at her ongoing obsession with the telephone, an instrument that she seems to find mildly repellent but can't seem to ignore. Everything on this album is both complex and immediately accessible, simultaneously deeply funky and sweetly gentle. Very highly recommended.
© Rick Anderson /TiVo

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A Ma Zone

Zap Mama

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1
Iko-Iko
00:03:22

Copyright Control, MusicPublisher - Zap Mama, Composer, Lyricist, MainArtist

1999 Luaka Bop Records 1999 Luaka Bop Records

2
Rafiki (DNA Remix)
00:03:43

Copyright Control, MusicPublisher - DnA, Remixer - Zap Mama, Composer, Lyricist, MainArtist

1999 Luaka Bop Records 1999 Luaka Bop Records

3
W'happy Mama
00:05:16

Copyright Control, MusicPublisher - Zap Mama, Composer, Lyricist, MainArtist

1999 Luaka Bop Records 1999 Luaka Bop Records

4
Call Waiting
00:03:55

Copyright Control, MusicPublisher - Zap Mama, Composer, Lyricist, MainArtist

1999 Luaka Bop Records 1999 Luaka Bop Records

5
Gissié
00:03:43

Copyright Control, MusicPublisher - Zap Mama, Composer, Lyricist, MainArtist

1999 Luaka Bop Records 1999 Luaka Bop Records

6
Songe
00:03:30

Copyright Control, MusicPublisher - Zap Mama, Composer, Lyricist, MainArtist

1999 Luaka Bop Records 1999 Luaka Bop Records

7
Kemake
00:03:07

Copyright Control, MusicPublisher - Zap Mama, Composer, Lyricist, MainArtist

1999 Luaka Bop Records 1999 Luaka Bop Records

8
Comment ça va
00:04:28

Copyright Control, MusicPublisher - Zap Mama, Composer, Lyricist, MainArtist

1999 Luaka Bop Records 1999 Luaka Bop Records

9
Ya Solo
00:04:09

Copyright Control, MusicPublisher - Zap Mama, Composer, Lyricist, MainArtist

1999 Luaka Bop Records 1999 Luaka Bop Records

10
My Own Zero
00:04:02

Copyright Control, MusicPublisher - Zap Mama, Composer, Lyricist, MainArtist

1999 Luaka Bop Records 1999 Luaka Bop Records

11
M'toto
00:02:47

Copyright Control, MusicPublisher - Zap Mama, Composer, Lyricist, MainArtist

1999 Luaka Bop Records 1999 Luaka Bop Records

12
Gbo Mata (Station
00:03:24

Copyright Control, MusicPublisher - Zap Mama, Composer, Lyricist, MainArtist

1999 Luaka Bop Records 1999 Luaka Bop Records

13
'Allo 'Allo (Original Mix)
00:05:08

Copyright Control, MusicPublisher - Zap Mama, Composer, Lyricist, MainArtist

1999 Luaka Bop Records 1999 Luaka Bop Records

14
Rafiki (Original Mix)
00:04:04

Copyright Control, MusicPublisher - Zap Mama, Composer, Lyricist, MainArtist

1999 Luaka Bop Records 1999 Luaka Bop Records

Albumbeschreibung

Zap Mama's last album was the first one to incorporate instrumental sounds into the group's six-voice a cappella mix; it was also the first to include male voices. On A Ma Zone, group leader Marie Daulne has expanded the exploration of American R&B and hip-hop that she began with Seven. Breakbeats, jazzy upright bass, and turntable manipulation are now a part of the mix -- a mix that was already rich with European and West African influences. "Gissie" draws most deeply on Daulne's Central African Pygmy roots, with its call-and-response structure and her unearthly yodeling; "Rafiki," which opens the album, is a collaboration with Black Thought (of the Roots) that segues beautifully into "W'Happy Mama," on which Daulne shows off her own speed-rap flow (in French, of course). "'Allo 'Allo" and "Call Waiting" both hint at her ongoing obsession with the telephone, an instrument that she seems to find mildly repellent but can't seem to ignore. Everything on this album is both complex and immediately accessible, simultaneously deeply funky and sweetly gentle. Very highly recommended.
© Rick Anderson /TiVo

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