Performances that were scheduled for October were postponed and the band hired a new bassist, Jason Newsted to complete the rest of the tour. Metallica also became the first band of the Big Four to cross the Iron Curtainwith two concerts in KatowicePoland on February 10 and 11, From Wikipedia, the free encyclopedia.
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Man With the Fun. The music is early techno pop written by Anthony Moore, who I think is the same guy who did some work for Pink Floyd in the late 80's. This is just filler, although I think maybe the fadeout with an overdub from a Third-World Radio Service news recording was intended to act as a kind of transition to the more interesting African-inspired music that fills the remainder of the album. Bob Marley penned this one at the beginning of the 80's as a kind of protest rallying cry for oppressed people of color.
As a reggae song it is both powerful and spiritual, and has been reworked by many artists over the years to mixed effect. The African backing vocals and occasional percussion add a bit of authenticity here, but the 80's European touch is a distraction. Chris Thompson is LP the right voice to be telling Africans to "emancipate yourselves from mental slavery", and Trevor Rabin's guitar solo, though inspired, is totally out-of-place.
The "Africa Suite", an eight minute lukewarm rant against apartheid and oppression, closes the album. This frankly should have been greatly expanded to consume the whole record. It probably would have made a much stronger statement against the practice of apartheid, but was heavily diluted by the inclusion of all of the western pop songs. When I first bought this album it was largely because the narrative on the back cover of the vinyl jacket made such a powerful social and political statement by the way, 'Bantustans' were the pejorative name of the 'native settlements' in which the white South African government segregated black women and children while their husband's served white landowners in the cities under apartheid.
Malan smokes his pipe and hands Joseph his pay packet. They discuss the roses. Malan has a parcel of nearly new clothes for him and his family. The Malan's children play around the pool.
Joseph's wife and child are five hundred miles away in Kwazulu. Joseph makes a cup of tea in the kitchen. He takes it out to his concrete shed at the back of the house. He sits on his steel bed. It is the weekend. Tonight he will get drunk in a sheeban.
It will be many months until he sees his family. It has been many months. Bantustan: Nelson, the son of Joseph, plays football with his friends; Sometimes LP pauses and gazes down the dirt road. Ultimate Damage - First Down - World Service (Vinyl the bus will come? Today his father will come? Outside their hut, his mother pauses at her washing; Raw, calloused hands on hips, she gazes at her son.
She knows it will be many months until Joseph returns. Nelson kicks the football, the bus forgotten for a while. I'm not certain what Manfred Mann's agenda was in making this album. If it was to produce a marketable pop album he was mildly successful, as there were modest hit singles, as well as music videos and commercial jingles that undoubtedly still generate income for him and the other band members.
If his intent was to raise awareness of the criminal practice of apartheid in late 20th century Africa, I contend he failed miserably. The closest the album came was in the written and visual statements on the back cover. Paul Simon would come much closer with his Graceland album a few years later, but in reality it fell to the international community, NGO's, and the South African people themselves to raise enough awareness to free Nelson Mandela, end the official government practice of apartheid, and cause Johannesburg to become integrated with free people of all colors in the 's.
Somewhere in Afrika, at best, acknowledged the kinds of practices which white people in 'civilized' countries were willing to engage in, even late into the 20th century. Although there are some songs on this album that I would have liked otherwise, I have to say that the album overall should best be relegated to the back pages of music history.
It serves no useful purpose in any progressive music collection, although it may be of interest to ardent Manfred Mann fans, so I give it two stars. Some world music "avant la lettre" or at least in its early days if we consider its rock implication. The integration of these African sounds percussions, vocals is made to the detriment of prog elements.
But it has been quite a while already that Mann didn't sound really prog. This project was a way for him to show his roots and stand as one of the white South African artists fighting against apartheid there weren't many in those remote times. Only therefore, his courage needs to be underlined. The album opens on the synth pop "Tribal Statistics". Combined with "African" backing vocals. The result is not really encouraging.
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