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Black Box

Nicolas Repac

NØF.20 — 2012

Tracks Credits Bio Links
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Be my woman gal I’ll Be your Man (x3)

Everydays Sunday dollar in your hand 

In your hand lordy, in your hand 

Everydays Sunday dollar in your hand 

Stick to the promise girl that You made me (x3) 

Be my woman gal I’ll Be your Man (x3)

Won’t got married til’ uh I go free 

I go free lordy, I go free 

Won’t got married til’ uh I go free 

 

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All ready, join the band

Come on and join the band

All ready, join the band

Everyone join the band

Ohhhhhhh band

Ohhhhhhh band

All ready, join the band

everybody want join the band

All ready, join the band

Every poeple want join the band

Ohhhhhhh band

Ohhhhhhh band

All ready

All ready, join the band

everybody want join the band

All ready, join the band

Every poeple want join the band

All ready

All ready

All ready

All ready

All ready

All ready

Ohhhhhh 

Ohhhhhh Band

Ohhhhhh 

 

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Black Betty (Bam-ba-Lam)

Whoa, Black Betty (Bam-ba-Lam)

Black Betty (Bam-ba-Lam)
Whoa, Black Betty (Bam-ba-Lam)

 

Black Betty, Where you come from ? (Bam-ba-Lam)

Black Betty, Where you come from ? (Bam-ba-Lam)

Black Betty What you know (Bam-ba-Lam)

Black Betty What you know (Bam-ba-Lam)

 

Black Betty, Where you come from ? (Bam-ba-Lam)

Black Betty, Where you come from ? (Bam-ba-Lam)

Black Betty What you know (Bam-ba-Lam)

Black Betty What you know (Bam-ba-Lam)

 

Whoa lord, it’s Black Betty (Bam-ba-Lam)

Whoa lord, it’s Black Betty (Bam-ba-Lam)

Whoa lord, it’s Black Betty (Bam-ba-Lam)

Whoa lord, it’s Black Betty (Bam-ba-Lam)

 

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There Is A House In New Orleans

they Call The Rising Sun.
it's Been The Ruin Of Many A Poor Girl,
and Me, Oh God, Am One.
 
if I Had Listened What Mamma Had Said,
i'd 'a' Been At Home Today.

being So Young And Foolish, Poor Boy
let A Rambler Lead Me Astray.

There Is A House In New Orleans

they Call The Rising Sun.
it's Been The Ruin Of Many A Poor Girl,
and Me, Oh God, Am One.
 
if I Had Listened What Mamma Had Said,
i'd 'a' Been At Home Today.
being So Young And Foolish, Poor Boy
let A Rambler Lead Me Astray.

one Foot Is On The Platform
and The Other One On The Train.
i'm Going Back To New Orleans
to Wear That Ball And Chain.
 
going Back To New Orleans,
my Race Is Almost Run.
going Back To Spend The Rest Of My Days
beneath That Rising Sun.

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Go to sleep little babe,
Go to sleep little babe
Your momma's gone away and your daddy's gonna stay
Didn't leave nobody but the baby


Go to sleep little babe,
Go to sleep little babe
Your momma's gone away and your daddy's gonna stay
Didn't leave nobody but the baby


Go to sleep little babe,
Go to sleep little babe
Your momma's gone away and your daddy's gonna stay
Didn't leave nobody but the baby


Go to sleep little babe,
Go to sleep little babe
Your momma's gone away and your daddy's gonna stay
Didn't leave nobody but the baby

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Executive Production And A&R :


Laurent Bizot & Thibaut Mullings

Performed, Arranged, Produced, Recorded

And Mixed By Nicolas Repac At Home (Paris)

Mastering : Chris Athens

At Sterling Sound On March The 20th 2012

Published By Nø Førmat!


Except

Chain Gang Blues, All Ready ?, Betty Loop, La Complainte De L'aube, Delta Lullaby

By Nø Førmat! & Global Jukebox Publishing (Bmi),

Courtesy Of The Association For Cultural Equity


Bo's A Lumberjack By Arc Music Corporation

Pulaar By Nø Førmat! & World Circuit

Cenas De Gaby By Africa Nostra

Redemption Blues By Sweet Roll Songs / Métisse Music

La Fuerza Del Sentimiento By X-Track

Slepa Ljubav By Nø Førmat! & Lausanne Musique


Special Thanks To Jeff A. Greenberg And

Don Fleming At The Association For Cultural Equity

For Their Great Support




Merci / Thanks


A Stanko, Anouch Et Najet


A Tous Ceux Qui M'ont Aidé A Trouver

Le Chemin De Voix De Cet Album :


Vincent Segal, Samuel Doux,

Jean Dindinaud Mon Inlassable Ami,

Et Arthur H Mon Ami Inséparable


Corinne Micaelli Et Mark Mulholland

Pour Mes Rencontres Haïtiennes,

Ainsi Que Toute L'équipe De L'institut Français

De Port Au Prince.


Laurent Bizot Mon No Formaté Ami

Et Ses No Formatés Compagnons Thibaut Mullings

Et Francois Reboux


Ti Coca, Wooly Saint Louis Jean, Brad Scott,

Bonga, Cheikh Lo, A Filetta


Yann Ollivier, Damien De Clerck, Emma Pick,

Jérôme Witz, Nicolas Becker, Yvan Assael,

Jules Maillard Et Francois Basset (No Brushing),

Clément Souchier, Sonia Cesaratto,

Pacôme Vexlard, Richard Gamba,

Anne-Lorraine Vigouroux.

Alan Lomax, Jeff A. Greenberg, François Post,

Maggie Doherty, Mario Perales, Naomi Moran,

Thomas Eckert Et Christelle D'almeida,

Jean-Jacques Hertz, Olivier Buttex, Petra

Gehrmann, Sabine Grenard, Valérie Salducci,

Justine Debicki, Thomas Rousseau, Erwan Julé.

Carine Rusznievski, René Souza,

Charlotte Pastourel, Denis Faïck, Marco Ostojic.




1 . Chain Gang Blues

(Nicolas Repac / Alan Lomax)


Contains A Sample Of « Rosie » By C.B Cook

And Ten Prisoners

Recorded By Alan Lomax At Parchman Farm

Penitentiary, Mississippi, In 1948



2 . Bo's A Lumberjack

(Bo Diddley)


Contains A Sample Of « Bo's A Lumberjack »

By Bo Diddley

(P) 1963 Geffen Records (Umg)



3 . All Ready ?

(Nicolas Repac / Alan Lomax)


Contains A Sample Of « Join The Band »

By John Davis And The Georgia Sea Island Singers

Recorded By Alan Lomax At St. Simon's Island,

Georgia, On October 12, 1959.



4 . Pulaar

(Cheikh Lo / Nicolas Repac)


Vocals : Cheikh Lo

Recorded By Nicolas Repac At Home,

On November 2, 2011

Cheikh Lo Appears Courtesy Of World Circuit



5 . Cenas De Gaby

(Bonga)


Vocals : Bonga

Bonga Appears Courtesy Of Lusafrica



6 . Haiti Bottleneck

(David Metellus / Nicolas Repac)


Vocals : David Metellus

Recorded By Victor Raymond At The French

Institute Studio Of Port Au Prince,

On February 2, 2012



7 . Betty Loop

(Nicolas Repac / Alan Lomax / John A Lomax)


Contains A Sample Of « Black Betty » By James

"Iron Head" Baker And Group Of Prisoners

Recorded By John A. And Alan Lomax At Central

State Farm In Sugarland, Texas In December 1933.



8 . Redemption Blues

(I Know His Blood Can Make Me Whole)

(Blind Willie Johnson / Arranged By Nicolas Repac)


Contains A Sample Of « I Know His Blood Can

Make Me Whole » By Blind Willie Johnson

(P) 1927 Columbia



9 . La Fuerza Del Sentimiento

(Guillermo Arrevalo Valera)


Contains A Sample Of « La Fuerza Del Sentimiento»

By Guillermo Arrevalo Valera

(P) X-Track



10 . La Complainte De L'aube

(Nicolas Repac / Alan Lomax)


Contains A Sample Of « The House Of The Rising Sun »

By Georgia Turner

Recorded By Alan Lomax In Middlesboro, Kentucky,

On September 15, 1937.



11 . 335 Time

(Nicolas Repac)



12 . Delta Lullaby

(Nicolas Repac / Alan Lomax)


Contains A Sample Of « Didn't Leave Nobody

But The Baby » By Sidney Lee Carter

Recorded By Alan Lomax In Senatobia, Mississippi,

On September 26, 1959.



13 . Slepa Ljubav

(Nicolas Repac)


Contains A Sample Of « Adje Mori, Nedzibe »

By Stana Selimovic

(P) 2006 Vde Gallo, From The Cd « Serbie : Mémoire

Tsigane » Coll. Aimp Lxxvii / Réf. Vde Cd-1184.



14 . Voodoo Blues

(Brad Scott / Nicolas Repac)


Vocals : Brad Scott

Recorded By Nicolas Repac At Home,

On June 9, 2011.



15 . Peze Kafe

(Wooly Saint Louis Jean / Nicolas Repac)


Vocals : Wooly Saint Louis Jean

Recorded By Victor Raymond At The French

Institute Studio Of Port-Au-Prince (Haïti),

On February 2, 2012



The artful medium

 

Guitarist, composer, arranger and producer all in one, Nicolas Repac is essentially the man working in the shadows. But this is not some kind of artsy posture or the result of excessive shyness. For him, music has very little to do with the tyranny of appearance or the bleak light of the spotlights. Arthur H’s alter ego for almost 15 years is always more at ease in the comfortable space of his studio on the heights of Montmartre. Up there, alone with his machines, Repac loves to dive into the night to bring back the ghostly echoes of long forgotten worlds, just like the inspired medium that he is. He’s become a master at the subtle art of freely associating samples. His works consists in giving these samples a second musical and poetic life, by reintroducing them into the vibrant murmur of the contemporary melting pot. 

 

«Swing Swing», the retro futuristic manifesto

 

His association with the Nø Førmat Label in the early 2000’s certainly did bring him newfound notoriety. His sensual musings around African music and Malian singer Mamani Keita’s strong voice (the albums “Yelema” and “Gagner l’argent Français”) left an obvious mark in the public’s minds. And so did “La Grande roué”, an album that was urban, nocturnal and moving all at once. But it was probably Swing Swing, a masterful and fun-loving jazz odyssey that offers to this day the best insight into the versatile talent of the composer. In a way that is both instinctive and light, Repac asked sampled and artfully “re-arranged” historic recordings how to “set” himself in the tempo that is known as Swing. And he did this by simultaneously suggesting a wide array of futures. A retro-futuristic approach that digs in the past without being old-fashioned, that sounds like a kind of discreet manifesto of his poetic art.

 

“Black Box”, at the origin of blues.

 

And he’s back at it again today in a similar state of mind with Black Box, a beautiful musical journey dedicated to all the different shades of the blues. By diving into the source of this mother of all music, Repac rediscovered the uncountable number of realms that were embarked on the traumatic voyage called deportation. He also revealed all these idiomatic territories contaminated by the black magic of this archaic and revolutionary art, by its twelve off-kilter measures and its universal pentatonic scale. 

 

Sonic documents and contemporary voices

 

Black Box, through its spectrum of deeply touching voices recorded specifically for the occasion or coming straight out of sampled old recordings is closer to some type of gripping inventory of this  joyfully disillusioned complaint that never stops to nostalgically sing to paradise lost everywhere in the world. From the work songs of black prisoners recorded by Alan Lomax in the 1930’s to the timeless chant of a native American chaman by way of the joyous proto-rapping of Bo Diddley, the jabbing pain of a Serbian gipsy singer, the tongue-in-cheek creole of Haitian storytellers, the soft complaint of Cheikh Lo, or even the saudade of the great Angolan singer Bonga, the entire planet is singing all the different shades of blues through Repac’s machines.

 

The machine’s souls

 

In the impeccable cinematic “mise-en-scène” of his project, each voice is used in a moving sonic environment, striped with electric guitar along with pulsating and catchy grooves. But there is nothing formulaic or systematic in this process. Whether he brings together the sensual lines and the inflexions of the melody or instead uses confrontation and appropriation to better unravel its subliminal discourse, Repac has only one idea in mind throughout this record: letting free the raw emotion that is at the heart of the sonic matter he borrows. In his company, machines decidedly have souls.

 






NØF.48 — Rhapsodic


NØF.02 — Swing Swin


Site Nicolas Repac 


Black Box