Music reviews. CD reviews. Critically hip!

There are some record labels that have identity. This is not a new thing. Sun Records had a personality, as did Okeh, and Atlantic at one time. Most of the current labels with identity are independents. Vanguard, Rounder, and Arhoolie are examples. In world music, Putumayo is developing a strong presence, showing that you can be good at what you do, stay true to your vision, and still make money. Another label that is establishing itself as a world music present is Mondo Melodia. Distributed by the wonderful-in-its-own-right Ark 21 Records, and founded by Miles Copeland, MM is taking chances and in the process is shouldering its way to the forefront of the market.

The U.S. release of a double CD live set by Hakim, a vocalist who a prominent entertainer in his native Egypt but who is relatively unknown in this country, and who does not sing in English, would seem to be a dicey proposition. Mondo Melodia, however, knew exactly what it was doing. This is infectious music which speaks a language of rhythm and joy and soul which anyone can understand.

Hakim's music is primarily percussive-driven, and while his backing band utilizes instruments which are commonly associated with middle-eastern music (tabla, dohola, kawala), they also feature bass guitar, a westernized trumpet and trombone, and accordion. The mix of east and west accordingly leans heavily toward the East but nonetheless gives western ears a point of reference to latch onto in the sea of explosive, unfamiliar rhythms they're exposed to. Additionally, backing vocalists Wael Ahmed and Khery El Din Mohamed are very prominently featured on such tracks as "Nazra" to the extent that their harmonies essentially become another instrument, albeit a very important one.

The music on THE LION ROARS takes the listener on a musical tour of the different styles of eastern music. Taken as background music, it is tempting to dismiss it as all sounding alike. Even a partially discerning listen, however, reveals the fallacy of that conclusion. Parts of "El Biehsal Dah" sound as if they sprang from the same pot as The Who's "Baba O'Riley." Given the unexpected chord, time and signature changes that take place on every given track, the whole work is faintly reminiscent of what Pharoah Sanders attempted, and accomplished, in the early 1960s, though from a much different perspective.

The first CD of THE LION ROARS contains almost 70 minutes of music; the second CD, while only 36 minutes long, is also (at least on my copy) additionally enhanced and includes a video of Hakim's concert performance of "Esma Yalli.". While I am unfamiliar with Hakim's studio work, his live work, based on THE LION ROARS, is a winner. As the major labels continue to cast about to discover some way to staunch the hemorrhage of red ink on their books, it is suggested that broadening their horizons, from both a musical and geographical perspective, may be in order.