Mama, You Can Bet!
by Jyoti
User Score
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No user score yet- Awaiting 2 more ratings

User score distribution:
  1. Positive: 2 out of 2
  2. Mixed: 0 out of 2
  3. Negative: 0 out of 2
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  1. All_ButTrU4
    Jan 31, 2021
    7
    this album felt like the smell of sawdust and mud.i have synesthesia and sepia is exactly how it sounds.its a humble observation of love and it's abilities starting with familial in the title track and romantic onromantic in ra's noise.it's a political album that isn't obviously so. it utilizes rhythm and instruments such as the beautiful sax and drums in swing,kirikou,swing . Her voicethis album felt like the smell of sawdust and mud.i have synesthesia and sepia is exactly how it sounds.its a humble observation of love and it's abilities starting with familial in the title track and romantic onromantic in ra's noise.it's a political album that isn't obviously so. it utilizes rhythm and instruments such as the beautiful sax and drums in swing,kirikou,swing . Her voice almost disappears into her music which isn't a bad thing because this isn't a musical artist album in tge modern means. It's more of a multi instrumentalist showcase condensed into 15 tracks.… Expand

Awards & Rankings

55
#55 Best Album of 2020

Critic Reviews

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Metascore
84

Universal acclaim - based on 7 Critic Reviews

Critic score distribution:
  1. Positive: 7 out of 7
  2. Mixed: 0 out of 7
  3. Negative: 0 out of 7
  1. The Wire
    Nov 6, 2020
    80
    Thanks to Muldrow, these compositions now bump and swing to the blues of the day. [Sep 2020, p.47]
  2. PopMatters
    Sep 8, 2020
    80
    There's so much to like here, as a current document that faces forward while reflecting the past. My main nitpick would be the echo and trailing effects on the vocals, making the words linger with an extended dissolve. It's especially noticeable on headphones and makes for an odd choice on an album that otherwise sounds gorgeous. Still, even this perceived flaw alludes to an ethereal quality.
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  3. Pitchfork
    Sep 3, 2020
    84
    From the driving blues line in “The Cowrie Waltz,” the lush soundscapes heard on “Ancestral Duckets” and “Bop for Aneho,” and the celestial soul claps that emanate from “Zane, The Scribe,” Georgia Anne Muldrow, once again, engenders her own Afrofuturistic realm, one that is heard, seen, and felt in the here and now.
    Read full review
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