Perhaps we've forgotten about Africa, that often non-geographical homeland of big green, red and black wooden necklaces where an oblong continent or fist may hang. Maybe World Cup tourneys, Somali pirates, civil wars, fictional West Africans either scamming extraterrestrials or threatening Jack Bauer's America have turned Africanism or even Pan- Africanism into fodder for weak NYT editorials or punchlines to an unspoken international joke. Do we even remember Mandela or Selassie or Kinte (you know, Lavar "Kunta" Burton)? If their names appear suspect next to one another, then maybe we have forgotten Africa - Africa as the promise land of a peoples, where return was imminent and liberation and connection to roots were promised.
Nas and Damien Marley purport to have not forgotten with their recent combined tour de African force,
Distant Relatives. But their, more so Nasir's, sincerity appear questionable at times. With occasional glimpses into the aforementioned
Land of Promise (Track 8), we are immediately introduced to the bleak, disillusioning possibility that Africa is just a continent; Ghana, Nigeria, Mali...simply an assortment of countries. The Marley child, Jr. Gong, allows us to pretend a bit longer, a bit stronger as he relates to his audience as a Jamaican artist with Rastafarian overtones, it follows then, that he possesses a significant (spiritual) connection to the continent emblazoned almost subliminally on the album cover (wait look closely, there it is!). And to Damien I say who am I to question spirituality. *shrug* African pass accepted. But like many before him, he falls victim to the tropes and cliches of poverty and western neglect, without providing anything substantially new to the argument. In fact, you might ask how a millionaire spawned from nepotism, virtually a pop star with locks of irony, even comes to know poverty, distinguish himself from the western funds filling his bank account and financing his lifestyle. Nonetheless,
Africa Must Wake up made me rethink putting away my big African chain for a moment, and
Patience establishes Marley as a lyrical powerhouse. Learn the patois or you'll miss something.
Nasir Jones, on the other hand - a hand perhaps uncomfortably distant from Marley's, sadly comes short as he's known to do nowadays. It's possible to speak of him so separately from his cohort even though the form of the album aims to emulate almost inseparable hip hop duets like Eric B. & Rakim or Mobb Deep at it's best, Jay-Z and R. Kelly (the second time, not the first) at its worst, because Nas doesn't engage in the back and forth rapport and dually consistent flow necessary to pull something like this off. He simply gets out-shined. He's another millionaire rapping of difficulties too far gone to genuinely recall in rhyme, but doesn't seem to even believe this stuff himself. Truthfully, the match of the two MC's makes sense. They've done it before on Damien Marley's last outing,
Welcome to Jamrock (
Road to Zion, Track 11), successfully. And to bring a wider audience to a project that might be boxed in as simply reggae, why not invite a legend that comes with at least 50,000 or so hip-hop sales automatically? But Esco, why not show up?
But you know who did show up? K'Naan. If you don't know who he is, Google the man, add a new Pandora station. He provides a bit of legitimacy to this 61 minute 48 second voyage through the diaspora. Even with a shotty flow and squeaky voice, I appreciate his presence. The production value and other features are often impressive as well. Speaking of features, Lil Wayne's on the album somewhere, so watch out! Subpar, overhyped rappers have different affects on people's ears so guard yourself. Weezy automatically subtracts a few thousand bloggers from the already struggling rating for the album... so here we have it: 13k money making bloggers approve :)
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