Masque d'Afreique
Girl voices, Behana: Elsa Nilsson. Male voice, Wakusi: Earl Burton. Clarinet, Zeneku. Bob Keene. Drums of Africa: Earl Burton.
7. Persuasion. Behana, in Zeneku's arms, seems satisfied that in Zeneku's world she will find the answer to the strange yearnings she has felt. Again she hears Wakusi's voice calling as he searches for her. Her fear of the unknown returns to her, only to be overcome again by Zeneku's persuasions.
8. Return. Zeneku's enticements continue as he leads her through the jungle, farther and farther away from her village. They stop to embrace. Wakusi comes upon them, tears Behana from the tempter's arms, and drags her through the jungle toward the village. Zeneku calls out after her, but she cannot break away from her lover. Soon she and Wakusi are lost to view in the thick foliage of the jungle.
Side 2
Art Direction: Ed Almond
Color Photography: Phil Howard
Del-Fi Records
DFLP 1203
1959
Here's one of the more inventive "exotica" period albums that I've unearthed. I would call this a concept album. Bob Keene composed and directed the music. Keene blended what seems to me to be African and "Voodoo" pop influences that were emerging in music during the late 50s along with jazz, some Yma Sumac sound-alike voices and what I might term a "beat" feel which may account for the repetitive and hypnotic effect of the entire record.
Side One
Del-Fi Records
DFLP 1203
1959
Here's one of the more inventive "exotica" period albums that I've unearthed. I would call this a concept album. Bob Keene composed and directed the music. Keene blended what seems to me to be African and "Voodoo" pop influences that were emerging in music during the late 50s along with jazz, some Yma Sumac sound-alike voices and what I might term a "beat" feel which may account for the repetitive and hypnotic effect of the entire record.
Side One
1. Night Rain. The animals are hidden in their shelters, the natives safe in their huts. The forest lies helpless and frightened under the relentless pounding of the rain. More savage than beast or man, the rain itself is king of the jungle.
2. Anticipation. The rain is gone. The sun comes up over the dripping jungle. The wildlife emerges from its cover. A young native girl, Behana, glides into the clearing, sheds her simple garment and slips into the clear waters of a small pool. As she bathes she sings the joy of life, and her song grows more vibrant at the approach of her lover, Wakusi. She does not hear the haunting clarion call of Zeneku, the spirit of the outside world, who lustfully watches as the water of the pool caresses her lean young body. Her lover joins her in the pool, and their love- making is like a game of children.
3. The Spell. The love-play of Behana and Wakusi becomes more fervent, then suddenly stops. Behana has felt the presence of Zeneku, and a troubling sense of promise pervades her as he casts his spell. Bewitched by Zeneku's enticing call, she is no longer even aware that Wakusi is there.
4. Council. Night and uneasiness cloak the village. Wakusi, troubled by Behana's detachment, has told the tribal elders that an alien spirit has cast its spell upon the girl. The chief and his court urge Behana to remember that she is a part of ancient Africa; she must stay with her people and her heritage. But the tribe knows the power of Zeneku, and their concern is displayed in their voices and in the music of the dancers.
5. The Tryst. In daylight again, Behana walks deeper and deeper into the forest, lured by Zeneku's enticing visions of the dazzling world outside her own.
6. Seduction. Behana hears Wakusi's voice in the distance, calling her name as he searches for her. Helpless under the spell of Zeneku, she is unable to answer him. The soul of the very jungle itself is heard, protesting and importuning her, through the omnipresent rhythm o the drums.
2. Anticipation. The rain is gone. The sun comes up over the dripping jungle. The wildlife emerges from its cover. A young native girl, Behana, glides into the clearing, sheds her simple garment and slips into the clear waters of a small pool. As she bathes she sings the joy of life, and her song grows more vibrant at the approach of her lover, Wakusi. She does not hear the haunting clarion call of Zeneku, the spirit of the outside world, who lustfully watches as the water of the pool caresses her lean young body. Her lover joins her in the pool, and their love- making is like a game of children.
3. The Spell. The love-play of Behana and Wakusi becomes more fervent, then suddenly stops. Behana has felt the presence of Zeneku, and a troubling sense of promise pervades her as he casts his spell. Bewitched by Zeneku's enticing call, she is no longer even aware that Wakusi is there.
4. Council. Night and uneasiness cloak the village. Wakusi, troubled by Behana's detachment, has told the tribal elders that an alien spirit has cast its spell upon the girl. The chief and his court urge Behana to remember that she is a part of ancient Africa; she must stay with her people and her heritage. But the tribe knows the power of Zeneku, and their concern is displayed in their voices and in the music of the dancers.
5. The Tryst. In daylight again, Behana walks deeper and deeper into the forest, lured by Zeneku's enticing visions of the dazzling world outside her own.
6. Seduction. Behana hears Wakusi's voice in the distance, calling her name as he searches for her. Helpless under the spell of Zeneku, she is unable to answer him. The soul of the very jungle itself is heard, protesting and importuning her, through the omnipresent rhythm o the drums.
7. Persuasion. Behana, in Zeneku's arms, seems satisfied that in Zeneku's world she will find the answer to the strange yearnings she has felt. Again she hears Wakusi's voice calling as he searches for her. Her fear of the unknown returns to her, only to be overcome again by Zeneku's persuasions.
8. Return. Zeneku's enticements continue as he leads her through the jungle, farther and farther away from her village. They stop to embrace. Wakusi comes upon them, tears Behana from the tempter's arms, and drags her through the jungle toward the village. Zeneku calls out after her, but she cannot break away from her lover. Soon she and Wakusi are lost to view in the thick foliage of the jungle.
Side 2
1. The Voice of Africa. It is night again, and the drums are at work, spreading the tale of Behana and the sinister enchantments of Zeneku. Restlessness and anger creep through the jungle as the natives awake to the danger of Zeneku's influence.
2. The Muster. The native chiefs call on their people to fight against the power of Zeneku. Un- rest and excitement stir the jungle, and the tempo of the drums increases. Zeneku appears. He pleads for Behana and for his alien way of life.
3. Uprising. The people, cherishing their own traditions, refuse to listen to Zeneku. They summon up all the mystic powers of Africa to fight the intruder, to preserve their heritage and their free- dom. They rise up against Zeneku's threat.
4. Impasse. The drums continue to beat out their message: stand firm, cherish the mask of Africa. The conflict continues. But Behana cannot forget Zeneku. And, as she remembers, she wonders...
2. The Muster. The native chiefs call on their people to fight against the power of Zeneku. Un- rest and excitement stir the jungle, and the tempo of the drums increases. Zeneku appears. He pleads for Behana and for his alien way of life.
3. Uprising. The people, cherishing their own traditions, refuse to listen to Zeneku. They summon up all the mystic powers of Africa to fight the intruder, to preserve their heritage and their free- dom. They rise up against Zeneku's threat.
4. Impasse. The drums continue to beat out their message: stand firm, cherish the mask of Africa. The conflict continues. But Behana cannot forget Zeneku. And, as she remembers, she wonders...
Thanks Mark. My research on Elsa Nilsson brought me here. Elsa and her twin sister As The Nilsson Sisters, they did U.S.O. tours with bob Hope and Spike Jones and recorded several singles for Coral and Capitol in the fifties.
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