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ORISHAS
A
Lo Cubano
If you are at all a fan of hip-hop or a fan
of any type of Cuban music (or even better, a fan of both), I
command you to get off your ass immediately and go purchase this
album. A Lo Cubano, the debut album of the Cuban hip-hop
sensation, Orishas, is one of the most refreshing, unique and
extraordinary albums I have listened to in a long while.
 This
group of four Cuban expatriates was raised in Havana (or "Habana",
si tu tiene' el sabor) on a steady diet of rumba, guaracha, timba,
son and guaguanco, all traditional Cuban song forms brought into
global consciousness through the numerous so called "Latin
explosions" of the past few decades, and most recently with
the Buena Vista Social Club production. Like many Cuban teenagers,
in the 80's they were exposed to South Florida hip-hop stations
and subsequently became part of a Cuban hip-hop underground which
the government just recently began to sanction (the first-ever
hip-hop festival in Cuba was recently hosted in Havana).
Rappers Yotuel and Ruzzo became pioneers in
Cuban hip-hop as part of  the
hip-hop ensemble Amenaza (in English "Threat"). The
third member, Flaco Pro, was a veteran of Sargent Garcia, another
Cuban hip-hop band. The three met in Paris and hooked up with
French hip-hop producer, Miko Niko and the fourth member of Orishas,
Roldán, a talented Cuban guitarist, vocalist and "trovero."
Roldán, took his classically trained
guitar skills and vocals to lay the traditional Cuban sounds as
the foundation of this unbelievably powerful collective which
has taken Europe by storm. With Miko Niko's connections in the
French hip-hop industry, they were quickly signed by EMI-France
and began production.
 Their
debut album, A Lo Cubano is incredibly solid and listenable
throughout. For me it falls into the rare category of albums that
can be listened to repeatedly without skipping any tracks. Thematically,
it is more consistent with Cuban music than it is with Hip-hop,
and presents a tapestry of vignettes about growing up in Havana
and generally what it means to be a Cuban.
You won't hear gangsta references or any talk
about busting a cap in anyone's ass. It is mostly positive stuff,
focusing on things like the mystical qualities of cuban women
(track 9, "Mistica"), the trials and tribulations of
living in the barrio (track 5, "Barrio") and a tribute
to mothers and their spiritual role in creation (track 11, "Madres").
Most of the lyrics are in Spanish, although there is the occasional
French rapper which surfaces unexpectedly. Nonetheless, those
who don't "habla" will still feel this music in a big
way.
Musically they are a unique combination (in
almost equal parts) of Afro-Cuban sounds (melodies, rhythms and
vocals) and hip-hop (heavy bass and funk rhythms and flowing lyricism).
If you're a hip-hop head, you'll recognize hints of 80's and early
90's hip-hop influence. If you listen to the album you might even
notice a couple rag-a-muffin influenced raps. If you are a fan
of Afro-cuban music, including salsa, rumba, son or guaguanco,
you will recognize its strong influence in the music and many
of the references to its roots.
 The
album begins with a traditional Yoruba
chant, a tribute to the roots of Afro-Cuban music and a fitting
introduction to a strongly Afro-Cuban influenced album. It also
suggests to the listener an idea that the album, the band and
Cuban music in general owe much to the African roots of Yoruba
and the imported rhythms meant to invoke the deities (or orishas).
Any fan of Cuban music knows how intrinsically linked to the African
continent Cuban music is. The album also makes numerous significant
references to Santería and its African predecessor, Ifa,
for those who recognize it. For one, the name of the band, Orishas,
is a reference to Santero saints/deities called orishas,
whom devoted santeros call upon for strength, protection or support.
Track two, "Represent" is a sort
of explanation of who and what they are all about.and the musical
roots of their sound. "...pa' rumbiar en la cadencia.
Represento mis ancestros, toda la mezcla. No la pierdas, bro,
latinoamericano de l'habana, te lo mando con sabor mejor..."
[to rumba to the rhythm, I represent my ancestors--the
mix of their roots. Don't ever lose it brother. I'm a latinoamericano
from Havana and I send you my flavor]. [Click
for a RealAudio sample from Afrojazz.com].
The title track, "A Lo Cubano" [in
the Cuban way] is an aggressive wave of the Cuban flag and a strong
expression of Cuban pride. It starts outs with a few seconds of
subdued traditional sounds (complete with flute, montuno piano
pattern and the 'tres' guitar). It is immediately followed by
the scratch of a turntable and then the pounding bass and drum
rhythm. The four men yell: "A lo cubano, bottella de
ron, tabaco, habano..." [In the Cuban way, a bottle
of rum, tobacco, a cigar...] This is the kind of song that
makes me wish I had one of those Bazooka bass units in my car
so I could set off car alarms and otherwise rattle all the windows
in my neighborhood [click
for a RealAudio sample from Afrojazz.com].
The most obvious example of the band's committment
to give props to their roots is in the track "Cuba 537"
which is a take on the traditional guajira
song "Chan Chan" which was made popular by Compay Segundo
in the Buena Vista Social club. [Click
for a RealAudio sample from Afrojazz.com]
This incredible album was released
in Europe in July and has already gone gold in both Spain and
France. The album was released in November here in the the U.S.,
coinciding with a brief club tour through the major markets, and
I will be surprised if it doesn't go platinum in early 2001. Reviews
of their November tour have been somewhat lukewarm which signals
that, not unlike other hip-hop acts, Orisha's layered, and highly
produced sound is more conducive to the flexibility of a recording
studio, where they can overdub and sample to their heart's desire.
I will still go see them live, next time they are in town, but
I will definitely be waiting impatiently for their next album
release.
[For RealAudio Clips and
more, click here]
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