Of all the early rock & rollers, Fats Domino was the easiest to take for granted, since he made it all seem so easy. Even when it rocked hard, his music was so relaxed, so friendly that it sounded effortless and natural, which was part of the reason that his classic recordings for Imperial in the '50s were so consistently enjoyable. All the hits, many of their flips sides, and most of his album cuts were flat-out fun – maybe not as revolutionary as work by Little Richard, Buddy Holly, Chuck Berry, and the Everly Brothers, but his body of work for Imperial not only stands proudly next to theirs, but is just as influential. This much is clear after years of hindsight, but in the late '60s he was as passé as any of his peers, even if there were legions of new rockers, from the Beatles to Randy Newman, who were raised on his music.
A Return of the Originals Event! 'The Lady and the Spider,' a tale told in widevision! Be here for a hot time in the dead town tonight! A catastrophe puts The Spider in the arms of lovely Domino Lady. Be here for the first time as the Master of Men and the Sexy Avenger ignite the comic pages as they deal with spontaneous flaming zombies! --
A drummer from the Bronx in Senegal should feel right at home, and Steve Reid apparently does on this collaboration, although he seems quite content to take a back seat, working with percussion and bass to build a platform for other instruments. There's no attempt to make the disc sound specifically African – what comes out is a natural mix of the jamming between the musicians (except for "Welcome," which features Isa Koyate, vocals, and very distinctive kora). There are touches of funk, Afro-beat, jazz ("Jiggy Jiggy") – just something amorphous, whose roots are definitely on one side of the Atlantic, but which have grown and developed elsewhere.