The launching event for Peggy Burn's CD, "Truthfully Speaking: History, Music and Poetry" at the BIU building reminded me of gatherings in the seventies when I was a prepubescent Black Beret, except it seemed a bit more authentic, sophisticated and digital.

In those days too there was political art, but it was thrown together by clever and passionate people who were not artists but dabbled, and we ate fried chicken and peas and rice in our dashikis, sporting neat afros and bell-bottomed dungarees. Red green and black decorated the walls and cheesy maps of Africa. We talked about the Motherland as if it was a myth.

Growing into 2001. The dress was smart casual. Many of the organisers, performers and audience at the launch were garbed in African inspired fashions and the walls were decorated expertly with real African art and fabric. There was excellent healthy vegetarian food and performances by some of the talented and serious artists and contributors to the project accompanied by the first rate drumming of Quito.

Unfortunately the event was poorly attended. There were probably less than 20 people if you didn't count performers and organisers. I thought that the $40 ticket, which entitled you to a copy of the CD, recorded at Studio B, the performances and a meal was great value for money.

Here was an event celebrating music and art inspired by and involving an important political issue and there was not one MP in attendance. Cal White, dressed in the more traditional example of smart casual, was MC and obviously the person who brought all of the elements together for the launching.

It was a bit disappointing that, despite his efforts, attendance was sparse. He exuded an easy professionalism and was the perfect face for Studio B. I was quite taken in by the whole, somewhat wholesome vibe of the evening, devised almost it seemed to be an extension of Mrs. Burn's humble personality.

Mrs. Burns, local writer and poet, was inspired to produce this CD when she attended the public forum about long-term residents and was unable to speak because she had spoken at the previous two, but she had more to say.

All of the work on "Truthfully Speaking" was created by the performers to assist Peggy in her expression and exploration of reactions to this issue.

Some of the brightest and best in the artistic community in Bermuda are involved in the project. Unfortunately, these talented young people, still somewhat on the fringes of the Bermudian arts scene simply because they are poets and not yet taken as seriously as visual artists, have chosen to use performance names, undoubtedly because of the subject matter.

The thing is none of the expression is particularly incendiary and the work from all involved is at least as good as, and better than a lot that you hear on the radio. This decision does say something else perhaps about the climate in Bermuda and the desire to avoid possible backlash.

I would hope that Bermudians and expatriates alike would recognise that the artists are expressing valid points of view much in the same way that Marshall Mathers/Eminem, shamelessly and brilliantly expresses homophobic and misogynist viewpoints. These feelings exist and whether we agree, disagree or are indifferent it would be a shame to not recognise a great and important piece of local art.

Those involved should be exceedingly proud of this CD, certainly one of the best locally produced CDs that I have heard. Dwight Jones and Wendell Simmons have created music that buoys the views being expressed by the artists and although similar in parts to music used by rapper Mos Def, still rings with originality.

The intro to the CD is a bit of history delivered by Dr. Eva Hodgson, who incidentally spoke at the launching imparting new historical knowledge. Throughout the CD there are humorous interludes that are well conceived and executed and probably the only bits that could possibly offend anyone in my opinion. I hope that people can appreciate the artistic expression and find the humour in these satirical moments.

"The Noise" written and performed by Cookie and featuring the voice of JB is a smooth and easy opener. This was inspired by the thoughts of Peggy Burns. Cookie's delivery is wonderful and smooth-voiced JB's singing, initially in the more classical style that she employs sometimes, compliments perfectly. The melody of the song's chorus is quite infectious.

Beatnik's "Paradise" features a relaxed and refreshingly honest delivery without the trappings of a heightened performance aspect, contrasting pleasingly with Desi's singing and NIA's more rhythmic staccato spoken delivery.

My favourite poem, it laments the price of paradise to Bermudians with Beatnik's usual clever wordplay. His first lines "Paradise has its price nestled in aquatic blue faces/Engraved in 21-square-miles of sandy pink beaches/Stretched across voluptuous landscapes of pastel houses and re-planted cedars" eloquently, with very Bermudian natural imagery, moved me immediately as I scanned the lyrics of the poems in my seat waiting for the performances to begin.

Peggy's narrative poem, "Distress Signals", which contains some truly arresting and original imagery and cunning turns of phrase, is accompanied by lovely jazz music. Her performance is inspired and heartfelt - the piece almost evoking the idea of an old spiritual, ending in the beautifully harmonised sung repetition of "Blessed will be our portion ever more".

"Get Back" is a lovely jazzy, slightly more than mid-tempo jaunt with lyrics and performance by NIA featuring the versatile JB (slightly bringing to mind Erykah Badu on this number). Wendell Simmons voice is evident in the backing vocals but he is not credited. This is my favourite on the CD. The music is danceable, the chorus kicking and the production flawless.

NIA's delivery is confident and outstandingly rhythmic, his poetry, as always, provocative and in this case capturing the essence of Mr. Hardworking Bermuda. Shine Hayward's very live-feeling saxophone playing is also featured on this fine song.

"Water Views" by Ermington Paul, decrying the loss of land, blends somewhat humorous lyrics and a great rhyme scheme with a hauntingly sung, melancholy chorus by Desi, her finest performance on the CD. The music is a funky, near trip-hop head bopper made rather chilling by the repeatedly sung "but who's that creeping in my backyard".

Each song, with the exception perhaps of Peggy Burn's "Distress Signals", which has just a bit too much in the way of sound effects for my liking, is meticulously crafted without superfluous vocal histrionics or overbearing musical excesses.

The old adage of "Less is more" seems to have been wisely adopted by Dwight Jones. It certainly doesn't hurt that he has one of the most creative musical forces in Bermuda, Wendell Simmons, in his employ.

Peggy Burn's "Truthfully Speaking" is a significant piece of local art, produced by Bermudians, inspired by historical and current events.

Mrs. Burns should be commended for giving those involved the opportunity to do what they do so well and have a lasting record of it. I challenge the local radio stations to play the songs. Whether or not you agree with the views and ideas espoused this is a CD worth having, worth giving as a Christmas present to lovers of poetry, hip-hop and R&B, jazz and popular music. I dare you to give it a listen and not move something or at least want to.