Chuck Prophet’s Wake the Dead is a bold and heartfelt exploration of new musical territory, born from both his love for cumbia and a renewed sense of purpose following a life-altering battle with stage four lymphoma. A seasoned San Francisco musician with a career spanning decades, Prophet has never been one to shy away from reinvention, and this collaboration with Salinas-based cumbia group ¿Qiensave? exemplifies his adventurous spirit.
Prophet’s fascination with cumbia music—a vibrant genre rooted in Afro-Colombian traditions—was sparked at the Make-Out Room, a local San Francisco haunt where he first experienced its infectious rhythms. Over time, he became a devoted fan, combing through records and sharing his enthusiasm with others. When his health scare sidelined him in 2022, the genre became a source of solace. “I had so much time to listen while I was sick,” he recalls. As his strength returned, so did his creativity, leading to regular jam sessions with ¿Qiensave? in Salinas, a partnership that blossomed into this remarkable record.
At its heart, Wake the Dead is a celebration of cross-cultural fusion. Prophet’s collaboration with ¿Qiensave? breathes life into an album steeped in cumbia’s rich musical language, with members of his band Mission Express lending their own flavors. The result is a blend of sultry Latin rhythms and Prophet’s unmistakable Americana style. Tracks like the title single “Wake the Dead” shimmer with laid-back percussion and accordion flourishes, while the lyrics capture Prophet’s characteristic blend of humor and poignancy.
Several songs lean more heavily into cumbia’s traditional elements. “Betty’s Song” shines with intricate bajo sexto lines and the percussive textures of güira and timbale, lending a sense of authenticity and depth. Meanwhile, “In the Shadows (for Elon)” takes a darker, more introspective turn, juxtaposing a haunting Farfisa organ with lyrics that critique ambition and its unintended fallout. Prophet’s lyrical storytelling remains central throughout, whether grappling with societal issues or capturing the quiet heartbreak of human relationships.
Two standout tracks—“First Came the Thunder” and a reimagined version of “Sally Was a Cop,” originally co-written with Alejandro Escovedo—demonstrate Prophet’s knack for marrying the personal and political. “First Came the Thunder” evolves from wistful reflection to a sweeping emotional crescendo, while “Sally Was a Cop” gains new intensity in its Latin-inflected arrangement, underscoring its themes of resilience against systemic corruption.
Prophet’s vocals, unpretentious and steeped in a Bay Area drawl, anchor the album in his roots even as the music ventures into unfamiliar terrain. This authenticity allows the cross-genre experiment to feel both daring and grounded. Whether cruising through lighter fare like “Give the Boy a Kiss” or delivering the reflective closer “It’s a Good Day to Be Alive,” Prophet captures a sense of urgency and gratitude that resonates deeply.
With Wake the Dead, Chuck Prophet has crafted a record that transcends expectations, merging his lyrical acumen with the vibrant soul of cumbia. It’s a testament to his unyielding creative spirit and a reminder that sometimes, the most unexpected collaborations yield the most compelling results. For long-time fans and newcomers alike, this album offers a refreshing and rewarding listen. – Jason Felton