What a story, the Saâda Bonaire; only two singles officially released to date, but a lifetime of secrets, anecdotes and fortuitous finds. Born in Bremen from the mind of a handyman named Ralf Von Richtoven, and with a plethora of Turkish and African musicians gathered at the immigration reception center to provide the craziest instrumentation of the period, the two fascinating models Stephanie Lange and Claudia Hossfeld released a solo single in 1984 – the hypnotic “You Could Be More As You Are” – before being shelved for managerial misunderstandings. In 2013, Captured Tracks made available the indispensable “Saâda Bonaire”, a collection of rediscovered material of the time that could have constituted the elusive debut album and which, to this day, sounds like one of the most curious and fascinating finds. of mestizo ethno-disco to the European.
But that’s not all; a decade later the group tried again, releasing the single “So Many Dreams” with Andrea Ebert who entered in the place of Claudia, but once again nothing came of it. And here again the anthologists of Captured Tracks, rummaging through the trunks in the attic until they find a new series of tapes mysteriously called … “1992”.
Will it all be true? It seems so, although the line between legend and subtle marketing strategy now appears more blurred than ever. Just remember it splash made by the competitor Lights In The Attic with Lewis’s findings, or the porn soundtracks by Patrick Cowley on Dark Entries and by Cazzo Film for Berlin-based A-Ton, and we have already sketched out a certainly minor recording panorama, but in which the prestige for discovery and a good circuit of collectible reprints.
But one thing is certain, “1992” sounds exactly like the Saâda Bonaire updated to the nineties: two rigid German accompanied by oud And ney on house beats and hip-hop bases programmed with bulky plasterboard keyboards.
On “Woman”, a creative remake of a James Brown song with arabesques and dub echoes, it seems to hear the legendary Jo Squillo and Sabrina Salerno. Same goes for “To Know You Is To Love You”, accompanied by a pulsating bass line and desert-rock offal, while the aforementioned single “So Many Dreams” is presented in the full eight-minute version: a sabbath that ends up involving trip-hop, Madonna and Ofra Haza. With “That’s Right” we’re on the side of Soul II Soul, “Your Prince” is that kind of little brat club-rap parody reminiscent of Gillette and Valeria Vix, while the velvety house of “7th House”, “Move From The Heart” and “Follow Your Mind” sounds like a mix between Ace Of Base and Deee-Lite.
The figure of the Saâda Bonaire project therefore still appears recognizable, to the point that the change of line-up between Andrea and Claudia is not even perceived. Sure, this time the intense programming of pianolas and a drafting of the pieces still in the embryonic phase make listening a clear finding of an attic that would have benefited from further processing. In short, that is missing quid who had made the first collection such a particular and idiosyncratic document in the panorama disk and wave of Germany’s pre-fall of the Berlin Wall.
But pimps or not, you can’t say no to Saâda Bonaire, even if it is for the image of two blondes in heels and burqas who mix over other cultures with an innocence that is comic. Something like that today would not be endorsed even by mistake, luckily this is all archival material. When is the next discovery?