| Clandestino | ||||
|---|---|---|---|---|
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| Studio album by | ||||
| Released | 6 October 1998 | |||
| Genre | ||||
| Length | 45:51 | |||
| Label | Mafia Cartel Studio | |||
| Producer |
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| Manu Chao chronology | ||||
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Clandestino is the debut studio album by French artistManu Chao, released in 1998. The album contains manysoundbites throughout, two of which are bits of a speech bySubcomandante Marcos and, like Chao's subsequent albums, was mostly recorded by the musician himself in various locations around the world, using a smalllaptop—which is referred to in the liner notes asEstudio Clandestino. The French edition ofRolling Stone magazine named this album the 67th greatest French rock album (out of 100).[2] The album was also included in the book1001 Albums You Must Hear Before You Die.[3] The album was ranked number 469 inRolling Stone's list of the500 Greatest Albums of All Time in 2020.[1]
Clandestino emerged from a period of personal and professional upheaval for Manu Chao, following the breakup of his band,Mano Negra, in 1994.[4][5] Mano Negra had been a pioneering force in the world ofpunk-infusedLatin rock, but after years of internal strife and a chaotic tour across war-tornColombia, the group disbanded before their 1994 studio albumCasa Babylon was even released.[4][5] The aftermath of this experience left Chao in a fragile state, both personally and professionally.[5]
For the next three years, Chao spiraled into a deep sense of restlessness and depression, continuing his music career by performing at bars inTijuana andRio.[4][5][6] He wandered acrossEurope,Africa, andSouth America, unable to settle anywhere for long.[5] His journey took him through cities likeLondon,Paris, andNaples, and even to Colombia andMexico, where he found solace among theZapatistas and experimented withpeyote.[4][5] Chao's mental health reached a low point inBrazil, where he came close totaking his own life.[5] It was here, in a rundown Rio favela, that an encounter with a cow, which he described as "tender," gave him a renewed sense of purpose, pulling him back from the brink.[5] Chao's time as a wandering musician deeply influenced the creation ofClandestino.
The recording process was unconventional.[4] Chao's journey took him to places like Tijuana and Mexico, where he immersed himself in the raw energy of the border region and spent time with the Zapatistas.[5] During these travels, he began recording ideas on a portable recorder, capturing not just his own music, but also street sounds, snippets of conversation, and other noises that would later shape the atmosphere of the album.[5] Chao returned to Spain, armed with little more than his portable recorder, on which he had stored the songs and sounds.[5] He continued writing more songs inMadrid andGalicia before making his way to Paris, where he briefly worked on an album with former girlfriendAnouk forVirgin.[5] This experience pushed him into thinking about creating his own album from the 50 songs and snippets he had accumulated during his travels.[5]
The process of making the album was somewhat haphazard.[5] By the summer of 1997, Chao began organizing his recordings, deciding which tracks to develop further.[5] In Paris, he partnered with producer Renaud Letang to sift through a collection of songs that would eventually form the album.[4] Initially, the album had a strongelectronica influence, withdance beats dominating the sound.[4] However, as Chao continued to experiment, a technical glitch with Letang's computer inadvertently stripped out most of the electronic elements and drums, leaving behind a more acoustic, organic sound.[4] Rather than being discouraged, Chao embraced the unexpected turn of events, famously stating, "le hazard est mon ami"—"chance is my friend."[4][5] Chao later described the process as "pure therapy," reflecting the cathartic nature of the album for him personally.[4] He and Letang continued experimenting with different mixes, even testing the tracks on the children of Chao's neighbors.[4] According to Chao, the songs that resonated most with the children were the ones that ultimately made the cut.[4] The result was an album that felt completely unique and unlike anything they had heard before.[4] As Letang described it, they felt as though they had "given birth to a UFO," something entirely foreign to the music scene at the time.[4] However, industry professionals were skeptical, with many expecting the album to have limited appeal, mainly among Mano Negra's fanbase.[4]
When the album was released, few predicted its eventual success.[4] Without a major promotional campaign or a band to support it,Clandestino seemed an unlikely contender for commercial success.[4] Mainstream radio stations avoided it, citing the controversial drug references in songs like "Welcome to Tijuana" as reasons for not playing it.[4] Critics doubted the album's ability to break through, suggesting it would sell only a few thousand copies, primarily to fans of Mano Negra.[4] Despite this,Clandestino began to gain momentum organically, especially among travelers and backpackers in popular destinations likeKo Samui andPuerto Escondido.[4] Its lack of promotion allowed word-of-mouth to fuel its success.[4] A year after its release,Clandestino entered the French Top 10 and remained on the charts for the next four years.[4] It eventually became a massive international hit, selling over five million copies and becoming regarded as a modern classic in Europe and South America.[4] Its success prompted Chao to begin work on a follow-up album,Próxima Estación: Esperanza.[4]
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   [7] |
| Q | [8] |
| Uncut | 9/10[5] |
Clandestino received positive reviews from music critics. John Bush ofAllMusic described the album as an "enchanting trip through Latin-flavored worldbeat rock," highlighting its eclectic mix of musical styles and noting that Chao's "infectious, freewheeling delivery" made tracks like "Mentira" and "Bongo Bong" particularly compelling.[7] Nigel Williamson ofUncut called it a "stoner classic," emphasizing its "bouncing global rhythms" and the way Chao's "irresistible rhythms and message of resistance continue to sound fresh and vibrant a generation on."[5]
| No. | Title | Language | Length |
|---|---|---|---|
| 1. | "Clandestino" | Spanish | 2:30 |
| 2. | "Desaparecido" |
| 3:47 |
| 3. | "Bongo Bong" | English | 2:38 |
| 4. | "Je ne t'aime plus" | French | 2:02 |
| 5. | "Mentira..." | Spanish | 4:37 |
| 6. | "Lágrimas de Oro" | Spanish | 2:57 |
| 7. | "Mama Call" | English | 2:21 |
| 8. | "Luna y Sol" | Spanish | 3:07 |
| 9. | "Por el Suelo" | Spanish | 2:21 |
| 10. | "Welcome to Tijuana" |
| 4:04 |
| 11. | "Día Luna... Día Pena" | Spanish | 1:30 |
| 12. | "Malegría" | Spanish | 2:55 |
| 13. | "La vie à 2" | French | 3:00 |
| 14. | "Minha Galera" | Brazilian Portuguese | 2:21 |
| 15. | "La Despedida" | Spanish | 3:09 |
| 16. | "El Viento" | Spanish | 2:26 |
Credits adapted fromAllMusic:[7]
Music
Production
Weekly charts[edit]
| Year-end charts[edit]
|
| Region | Certification | Certified units/sales |
|---|---|---|
| Argentina (CAPIF)[34] | Platinum | 60,000^ |
| Austria (IFPI Austria)[35] | Gold | 25,000* |
| Belgium (BRMA)[36] | 2× Platinum | 100,000* |
| Canada (Music Canada)[37] | Gold | 50,000^ |
| France (SNEP)[39] | Diamond | 1,000,000[38] |
| Germany (BVMI)[40] | Gold | 250,000^ |
| Greece (IFPI Greece)[41] | Gold | 15,000^ |
| Italy 1998-2000 sales | — | 300,000[42] |
| Italy (FIMI)[43] sales since 2009 | Platinum | 50,000‡ |
| Netherlands (NVPI)[44] | Gold | 50,000^ |
| Spain (PROMUSICAE)[45] | Platinum | 100,000^ |
| Switzerland (IFPI Switzerland)[46] | 2× Platinum | 100,000^ |
| United Kingdom (BPI)[47] | Silver | 60,000^ |
| Uruguay (CUD)[48] | Gold | 3,000^ |
| Summaries | ||
| Europe (IFPI)[49] | Platinum | 1,000,000* |
| Worldwide | — | 3,000,000[38] |
* Sales figures based on certification alone. | ||
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