David Lyndon Huff’s Worldbeat: World Music for a New Millennium

cover, WorldbeatThis CD is the sort that one finds in the bookstores of retreat centers catering to middle aged, middle income, New Age types. It is a solo effort, where session musician Huff samples vocals from several traditions. Unfortunately, none of the samples are credited in the promotional materials or the liner notes. It is smooth and well produced, with good transitions between the numbers, and vocal styles, which range from Christian monks chanting to rain sounds to African vocals.

In some ways the title Worldbeat is misleading, because the beat part is very well behaved in a North American drum kit and synthesizer way, and the world part is largely set down on top of the percussion and rhythms. I found the album a little frustrating because I like collaboration to be a fusion of musical styles, while Huff seemed to be showcasing a smorgasbord of styles popular with alternative spirituality types. Like those church potlucks of my wholesome childhood, I found the mixture a bit difficult to digest — tantalizing in its variety, but not enough of any one tradition. I was also left with a lingering suspicion that the sampled tracks were a bit like the hot dishes the church ladies made back in Minnesota, most of the spice removed, and the macaroni a bit overcooked. Which is to say that what I have heard of these styles in their original format was a bit more immediate and energetic.

Do you want to meditate to monks chanting? Check. Rain sounds? It’s there. Gaelic sounding female vocals? Yup. Indian strings? Got that too. African vocals? Absolutely. Nature sounds? In abundance! I envision the indecisive, or perhaps budget conscious, workshop participant in the lovely surroundings of a retreat center, just back from a walk across the beautiful grounds or the noon hour movement class, feeling enthusiastic about continuing the discipline of the weekend, but having spent all of her book and music budget on a massage, purchasing this CD to assist her when she is back in the world of stress and paychecks.

This person would probably enjoy this album, as it is very relaxing, and could be used for meditation or mood creation. It might also point the novice listener to explore the musical styles presented. I would not recommend this CD to people who already possesses a working knowledge of any of the styles of music showcased here, because they are likely to find it frustrating. But for the person interested in creating a serene and relaxing background, or someone who would like an introduction into these popular New Age styles, this is a fine choice.

(Green Hill Music, 1999)

Kim Bates

Kim Bates, former Music Review Editor, grew up in and around St. Paul/Minneapolis and developed a taste for folk music through housemates who played their music and took her to lots of shows, as well as KFAI community radio, Boiled in Lead shows in the 1980s, and the incredible folks at the Winnipeg Folk Festival, which she's been lucky to experience for the past 10 years. Now she lives in Toronto, another city with a great and very accessible music and arts scene, where she teaches at the University of Toronto. She likes to travel to beautiful nature to do wilderness camping, but she lives in a city and rides the subway to work. Some people might say that she gets distracted by navel gazing under the guise of spirituality, but she keeps telling herself it's Her Path. She's deeply moved by environmental issues, and somehow thinks we have to reinterpret our past in order to move forward and survive as cultures, maybe even as a species. Her passion for British Isles-derived folk music, from both sides of the Atlantic, seems to come from this sense about carrying the past forward. She tends to like music that mixes traditional musical themes with contemporary sensibilities -- like Shooglenifty or Kila -- or that energizes traditional tunes with today's political or personal issues -- like the Oysterband, Solas, or even Great Big Sea. She can't tolerate heat and humidity, but somehow she finds herself a big fan of Steve Riley and the Mamou Playboys (Louisana), Regis Gisavo (Madagascar), and various African and Caribbean artists -- always hoping that tour schedules include the Great White North.

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