BABADI
Le Chat et la Souris
13 titles - 55'02''
1 - Comores Unit
2 - Rikiya Ar Ari
3 - Happy Days
4 - Kaya Survive
5 - Reggae Vibration
6 - Ali Baba et les 7 Voleurs
7 - Reggae Aspirine
8 - Tranga
9 - Code Noir
10 - L'Appel
11 - Oeil pour Oeil
12 - Le Chat et la Souris
13 - Mlozi
With his fourth album “Le Chat et la Souris (The Cat and the Mouse)”, BABADI continues to experiment with new musical sensations : “For me, it’s a return to the roots rhythms and mystique of classic Reggae” he explains. “Today, Reggae is moving into the African cradle, a continent that really needs some redemption since it has lost both its identity and its history.”
Throughout the 13 tracks of this album, he evokes the political tension of the Comores Islands and the attitude of the new colonies, for which he recommends a prescription of Reggae (Reggae Aspirine), or even voluntary amnesia of despairing events in African history (Code Noir). His desire is to contribute to the resistance against political hypocrisy that deceives the people, whether in Mayotte, his natal island, or anywhere else where the negative effects of “globalization” are imposed : “The situation in society is degrading day after day and the politicians are there, like the cat, to frighten the mouse, in order to quiet their voices and instill submissiveness.”
It’s at Grenoble, in Studio 3, guided by the masterful hand of Don Pablo, that BABADI wanted to record this album. The musicians that accompanied him have for a long time shared the same musical and political philosophy as him. We notice all the color of a roots orchestra: backup choruses, brass and percussion, as well as a subtile guitar that gives energy to the ensemble.
“(…) Originally from Mayotte, BABADI seems to plunge into an ambiance that includes both roots and mystic. The sound is on par with the best African Reggae and best female backup choruses. Help citizens ! Violence , the youth no longer plays the old fairy tails … Lyrics in French enriched with a veritable originality compared to the French metropolitan, to which he adds a slight naïve touch to the vibrant denunciations.”
(NATTY DREAD – August / September 2002)
Released on October 31th 2002