While I can't find anything regarding what a "manego" might be,
one can presume that it is either symbolic to Swiss producer Yves
Larock, or the combination of "man" and "ego." Either way, it is the
title of Larock's 2009 album. Ministry of Sound America was gracious
enough to release this little gem for our devouring pleasure.
However, when it comes to artist albums from remixers or producers, I
always inwardly flinch. I am prepared for each and every album to
suck. Let's be fair, and honest, and say that it definitely happens.
But I retain an open mind whenever I crack open a new disc from one of
these personages in an attempt to objectively perceive their material.
Switching It Up From The Start
Firstly I noticed that a typical trend in dance music has been flipped on its duff on Larock's album. Just about every single song on Manego was sung by a man. When does this ever happen, unless the dance artist is also a singer? Not only did this give me a much needed boost when going into the album, it also prepared me for anything. The woman's voice rules the club, but Larock has crafted twelve male-fronted dance tracks. That is an impressive feat on its own, provided that those vocals aren't industrial-esque. Industrial tracks flourish with foreboding and depressing male vocal performances. Luckily, Manego doesn't suffer from that!
Talent Comes Off As Easy
Larock really captures a fun, vibrant feel in his music, much in the same way that Bob Sinclar did 3 or 4 years ago. Whether going big for the stadium or distinctive for the dancefloor, Manego really hits it right. On cuts like "Glory" or "Listen to the Voice Inside," I just don't feel that anyone involved is trying TOO hard. Or really at all, in a sort of "this is amazingly effortless" way. Even the steel drum accompanying Steve Edwards on "Voice Inside" sounds as if it just magically fell into place, like a traveling steelpan group happened to be playing those exact notes when they passed the studio it was being recorded in. Of course, they were probably hanging out with Steve Edwards, who should always voice Sebastian the Crab in any Little Mermaid rendition. I love his voice. It is a shame he only lends his voice to that one track, but I must say I thoroughly enjoyed most of Larock's choices for vocal talent.Sting, Lions, and some Mediocre Singers
Fred Barry's ("Glory," "Remember Me," "Ordinary World," "Rock With Me," and "Life Is A Rodeo") sounds like Sting, which is a great complement to Larock's style, but no better than on the song "Million Miles." It starts off simple with his wailing over a simple piano melody before the beats and stuttered arpeggio synths kick in. The cut isn't overly complicated, but it sounds fantastic. Larock enlisted the additional help of another Islander, Jaba, to provide vocals for "I Want More" and "Respect," with Diane B. on "The Night" and "Anymore." Neither of these vocalists did a whole lot for me. Diane B. sounds especially lazy on "The Night" and her performance is forgettable on "Anymore." That's OK though, because Morten Luco really does a fantastic job with "Live With The Lions" which manages to sound both frantic and pensive at the same time. I want to sing along with Luco. I don't, however, want to sing along with MC Flipside. Namely because he's a rapper and doing what he does best on "Electric Boogaloo." Matt Jamison is the last vocalist used on Manego, and his track "Sound of my Heart" is perhaps the weakest of the male cuts. It has the great production from Larock, but I felt that Jamison's vocal delivery didn't mesh well with that production.Summary
I would dance to any of these tracks if they came on at a club. I don't think any of them, save "Life Is A Rodeo" which features a swing beat, would feel out of place on a dancefloor. Combined with the effortless vibe of the album, I think Larock has a few chart-bound selections on Manego. My favorites are "Listen to the Voice Inside" and "Live With The Lions." Not bad.Released August 2009 on Ministry of Sound-USA.
