The Roots Lover 1978-1983 is the first collection of Sugar Minott's best 7'' and 12'' releases with extended versions (plus two additional intros). Includes musical accompaniment by Roots Radic and Black Roots Players. Moll-Selek.

'Great collection of late seventies / early eighties gems from the late, great Sugar Minott… why not! Includes several of his own productions including the overlooked lovers rock gem Waiting For Your Love with Sister Ester (the CD also contains Ranking Dread’s Superstar and Yabby U’s deep roots Thirty Pieces Of Silver). All selections are presented in full-length “discomix” style for your complete musical enjoyment.'

'It's under-represented in the age of the CD reissue, but often roots reggae and early dancehall were first made available in 12" versions that were really the future A-side and the future B-side version mashed closely together. Despite the simplicity, the device worked well, pleasingly extending the grooves past the five-minute mark while giving some impression of how the legendary sound systems of Jamaica would segue versions and dubs while working an audience. The Moll-Selekta label will win over the reggae 12" collector's heart with this compilation of hard to find extended mixes from the sweet-voiced Sugar Minott. Best news of all, the collection sounds phenomenal with the Basic Channel label's deep lathe wizard Moritz Von Oswald handling the ear-bud-killing, thumping remastering and "restoration." Compare the remastered and extended "A Slice of Cake" to the original and it's obvious how the slow, angry simmer of the track works better here. Lighter material like the sweet "African Girl" benefits from this treatment, too, as the track joyfully skips down the road for eight minutes with dub version trailing. It's also the track to check to see if you agree with Von Oswald's mastering, which doesn't mind pushing the meter into the red if it means the low end is gonna shake. As for Minott himself, he's savoring each song and often letting grooves run their course without much interruption, something easier to do on a 12" than an album. While the collection lacks key tracks, front-loads the ones it does have, and focuses on only one era of the man's career, the songs here are presented just how the core reggae audience first consumed them. Check another Minott comp if you're unfamiliar with the artist, then come back here when you're ready to sprawl out to some really authentic sounds.' -AllMusic Review by David Jeffries


A clean, tight repackaging of music that was previously impossible to find. The only problem with these CDs is that there's nothing to complain about.

Some have called him the "Godfather of Dancehall". Others have called him "a sound system instigator". One thing that is clear is that the career of Sugar Minott cannot be summarized in just a handful of singles. Here is one of the greats of Jamaican roots music, reconsidered. The German label Moll-Selekta has added a prominent piece of the puzzle with its 14th release, The Roots Lover 1978-1983, which collects many unreleased or otherwise hard-to-find tracks from the man's golden age.

Lincoln Barrington "Sugar" Minott was born in Kingston, in May 1956. It was a heady, tumultuous time in the history of music, a time of dramatic phase-shifts in all forms of Western music, including what would later be filed in the chain stores as "reggae". Like raga in the east, which was infused with new relevance through interaction with European concepts, reggae in the west was beginning to internalize aspects of American music -- not much, just bits and pieces. By the time Minott made his arrival on the music scene in, Jamaica's output was attracting international attention. The ensuing 35 years would see Minott assume iconic status among two generations. After debuting as one-third of the African Brothers in 1969, Minott went solo when the group broke up in 1974. Once his career took off in 1980, he never looked back.

As befitting an artist of his stature, The Roots Lover is a meaty compilation, with 17 tracks averaging over six minutes in length The full-color gatefold packaging includes shots of Kingston with the old labels repped in front of Minott's own Youth Promotion Music Centre, founded 1978,. The imagery speaks to a sense of the African diaspora experience, an experience chronicled in great detail, including on this album.

Disc one captures the more romantic, contemplative side of Minott. Disc two features his more aggressive, political work. The difference between the two is dramatic enough that they could almost be by two different artists. The song titles are evocative of the mood to an extent that is exceptional even by the standards of a Lee Perry or Cole Porter. It all begins with "Leggo the Dread", which itself begins with a robust toast to generations to come: "You always worry yourself about clash, where clash come from… don't take it for a simple arithmetic!" Perhaps the best track from disc one is "A Slice of the Cake", a brooding, meditative seduction over minimalistic drums and melodica. But songs like "Dance Hall Style", "African Girl", "Waiting for Your Love", "In a Dis Yah Time" and the classic "No Vacancy" show off his production gifts -- the album's like a clinic on reggae sound effects!

Most of these songs were recorded at Channel One Studios, Kingston, with the Roots Radics Band and Black Roots Players. The album features guest appearances by Yabby You, Ranking Dread and Sister Ester. The sidemen on these tracks constitute a murderer's row of musical genius: Gladstone Anderson, Michael Ashley, Noel Bailey, Bingy Bunny, Deadly Headley, Junior Dan, Sly and Robbie, Albert Mallawi, and Jackie Mittoo.

All in all, this is a very satisfying album. It's a subjective choice, but the author of this review prefers disc two. Again, the song titles are like guide-posts to Rastafari thought: "Africa", "Careless Ethiopians", "Thirty Pieces of Silver", "Three Wise Men", "Rome, Rome" and "Dub on the Pressure". It's all good. If you mark out for Minott, you will enjoy this clean, tight repackaging of music that was previously impossible to find. If you've never heard of Sugar Minott before, the overall effect may be even better. The only problem with these CDs is that there's nothing to complain about. -Shelton Hull


'Lincoln "Sugar" Minott played a major role in the story of Jamaican music as a singer, songwriter, producer, label man and sound system instigator. His singing voice was as sweet as honey (hence the nickname) and graced both roots and lover's rock compositions in equal measure. Born Lincoln Barrington Minott in 1956 in West Kingston, Jamaica, his career actually began as part of the vocal trio African Brothers in 1970. After departing with the group in 1976, Sugar signed a solo contract with Studio One, and Sugar set about writing his own lyrics over the classic riddims of Jamaica's most famous label, as well as penning his own songs. Sugar's way of working on covers laid down the foundations for the later coming dancehall movement, and his debut album Live Loving can lay claim to being the very first dancehall album, with Roots Radics or the Revolutionaries, top class musicians in their own right, accompanying Sugar on many of his songs. His uniquely sweet, almost hushed vocal style became his trademark. Bob Marley loved it and declared Sugar to be one of his favourite singers in Jamaica. Three albums (Live Loving, Showcase, More Sugar) and a number of singles later, he set up his own Black Roots Production and Youth Promotion Company labels in 1978, along with the Youth Promotion Soundsystem, which was a springboard for ghetto kids to get to work in the studio. In 1980 he moved to London, where the UK was under the spell of lover's rock, which Minott took full advantage of whilst masking the fact that he was equally at home in Jamaican roots. Sugar would later go back to his roots in Jamaica scoring a hit with the ganja hymn "Herbsman Hustling" -- one of the founding elements of rootical dancehall. In 1988 he turned increasingly political and his African Soldier album (1988) is dedicated to the freedom fighters in South Africa opposing Apartheid. Throughout much of the rest of his career, he drew attention to Africa's rich history, its culture and perception of Ethiopia as the promised land of Zion. Venturing away from conventional reggae into crossover territory in the '90s, he started to address themes of love and cultural awareness, showing himself to be a singer who moved easily between the poles of roots reality and the poetry of love. Here is the ultimate roots reggae collection, chock full of unearthed extended versions to round off a portrait of Sugar Minott which confirms him as the greatest Jamaican protagonist of roots and lover's rock, captured at the most important moments of his musical story.'


This is more a thoughtful, slow burn collection rather than a pounding, obvious "in your face" selection.

With the sources for (quality) reissues from the ’70s and ’80s drying up fast, reggae lovers are grateful for the efforts of Blood and Fire and Pressure Sounds, Moll Selekta and so on, even if the results are sometimes flawed as is the case here.

Admittedly, it would be hard to define this collection as utterly indispensable, but it certainly has its intense, powerful moments, featuring some excellent songs, with a little filler. The only annoying thing is that two or three of the tracks have irritating intros gratuitously tagged on the start (and one of the tracks sounds suspiciously like a contemporary engineer has craftily spliced in a 2005 style heavy handed digi steppers drum beat into the tune – but the latter is no more than instinctive speculation. Listen and decide for yourself. However – these are relatively insignificant complaints – this is a strong collection of atmospheric, thoughtful and creative discomixes recorded between 1978 and 1983.

The real pleasure is the fact that this is a double cd set, and we are given almost ten minute extended versions of these tunes, so the listener can get drawn into these heated, swirling, cerebral mixes, most of which are also heavy as a boxer’s punch. And there is an obvious striving for difference in the mixes which is pleasing to hear when compared with this present time, when imitation in reggae seems to be the relentless cul de sac norm rather than the exception.

Lyrically too, Minnot has powerful insight – check out “A Slice Of The Cake” in which he outlines his frustration at making sincere effort and having his rewards taken from him, or having the “rules of the game” shifted and altered before he can get his just rewards as he deserves. This is something so many of us will have experienced, and typically, reggae lyricists just seem to have this power to put these sentiments to music without sounding self indulgent or sorry for themselves. It is sounds and poetics of reality, as only reggae can create so tersely and eruditely. Headley Bennett’s backing on this tune is a pleasure too; pure Impulse/Blue Note jazz dynamics as heard on his “35 Years From Alpha” album.

This is more a thoughtful, slow burn collection rather than a pounding, obvious “in your face” selection, which is its beauty and strong point rather than a criticism. Some of the deejay tunes and a dub or two included seem pointless, and one wonders why they are here anyway, and one or two tracks pointlessly recycle old rhythms we surely do not need to sit through again. But over all this is going to prove very popular with those of you who have religiously collected the more low key yet no less impressive rare Channel 1 discomixes over the years. The inner sleeve art too, is beautifully put together. -by Professor Barnabas at Reggae Vibes Jul 10, 2020

Disc 1
1. Sugar Minott - Leggo The Dread 6:16
2. Sugar Minott - Dance Hall Style 6:46
3. Sugar Minott - A Slice Of The Cake 5:31
4. Sugar Minott - African Girl 7:43
5. Sugar Minott With Sister Ester - Waiting For Your Love 5:00
6. Sugar Minott - No Vacancy 7:09
7. Sugar Minott - Hold On 6:01
8. Sugar Minott - Love Life 6:42
9. Sugar Minott - In A Dis Yah Time 7:07

Disc 2
1. Sugar Minott - Rome Rome 6:40
2. Ranking Dread - Superstar 5:49
3. Sugar Minott - Three Wise Men 6:41
4. Sugar Minott - Sandy 8:01
5. Yabby You - Thirty Pieces Of Silver 8:02
6. Sugar Minott - Careless Ethiopians 5:52
7. Sugar Minott - Africa 8:20
8. Sugar Minott - Dub On The Pressure 6:05


Classic highlife music from the Essiebons Music Archives (70’s Ghana)

'Ok, one more... Fortunately, the brilliant C.K. Mann has a decent presence online, however, I have yet to see any tracks from this particular album. Here the Ghanan Highlife legend is doing 'Osode' tunes. Warning: this track takes up the whole side and is a full 18 minutes. So kick back and maybe get some work done while you enjoy the glory of "Ceekay"! ps. Also, this album has the amazing Kofi "Papa" Yankson on Congas!' -K (Kitten Tears)

Label: Dix ‎– EBL 6114, Essiebons ‎– EBL 6114
Format: Digital, Vinyl, LP, Album, Mono
Country: Ghana
Released: 1973, 2015
Style: Highlife, African

1. Osode Medley 17:56
  1-1 Odo Ye Wu
  2-2 Ama Adoma
  3-3 Me Kor Aware
  4-4 Kenkeba
  5-5 Mewu A Wo Nsu Me
  6-6 Bom Mframa
  7-7 Edina Benya
  8-8 Meda A Menda
  9-9 Tegyirama Da Manum
  10-10 Akwadaa Nyame
  11-11 Akwaa Noma

High Life
2. Medze Meho Bema Nyame 3:08
3 Som Nyame 3:17
4. Nimpa Rebere 3:16
5. M'Atow Abowa 3:21
6. M'Awerekyekyere 3:18
7. Henfa 2:58

Companies, etc.
Record Company – Essiebons Enterprises Ltd.

Bass Guitar – Ben Owusu
Cabasa, Maracas – Tony Mensah
Congas – Willie Sam Jnr.
Drums – Kojo Minta
Leader, Composed By, Arranged By, Lead Guitar, Vocals – C.K. Mann
Liner Notes – Frank Sam
Organ – Johnny Amos, Frank Boakye (tracks: 3, 7)
Vocals – Kofi Papa Yankson


This album is pure gold

''In my opinion, hardly anybody created a better and more soulful and wonderful sounding bridge for the old and the new sound of Jamaica from the 70ies to the 80ies. The King of Dancehall. Sugar Minott is certainly one of the greatest. His work in the 70ies is amazing and he continued to be as passionted and creative throughout the 80ies. Music was his life and you could feel that when he was on stage. His voice is very unique and pure pleasure to listen to ------------ HIM LEGEND ----------- '' AlbertHofstein 29 avril 2019

Sugar In The Raw

'This is a vital reggae record, period. It was his third solo outing (following the Showcase album on Studio One and his own Ghetto-ology), his only album for Island, and the LP to name his label.

In 10 songs, Sugar shows the shift from roots reggae to dancehall. He slowed the rhythms to a bubbling percolation (compared to the hammering rockers and steppers rhythms of the The Wailers, Black Uhuru and the like), stripped instrumentation to a barebones guitar-keys-bass-drums, and addresses matters of the heart, matters of the soul, and matters of the ghetto.

Every track is exceptional, but stand outs are "Hard Time Pressure," the mellow "River Jordan," "Black Roots," "Mankind" and "Mr. Babylon Man" (and that's half the album right there - how can you go wrong?).

An essential piece for any Sugar fan, and a good starting point (along with Ghetto-ology and Sugar Minott At Studio One on SoulJazz Records) for those wanting to learn about Lincoln "Sugar" Minott. ' -Dee Sharp

Black Roots is a 1979 album by Sugar Minott. It was the first to appear on Minott's Black Roots label, and was described in the book Reggae: 100 Essential CDs – The Rough Guide as a "classic, which catches the singer on the cusp of the roots and dancehall phases, and with total control over his music." The album includes contributions from some of Jamaica's top session musicians including Leroy "Horsemouth" Wallace, Noel "Scully" Simms, Eric "Bingy Bunny" Lamont, Gladstone Anderson and Ansell Collins, with harmony vocals provided by Don Carlos, Lacksley Castell and Ashanti Waugh. Two of the tracks on the album had previously been issued as singles – "Hard Time Pressure" and "River Jordan". The album was described by Dave Thompson in his book Reggae & Caribbean Music as a "deeply dread collection...time has bestowed a stately uniqueness to it". Alex Henderson, writing for AllMusic, said of the album: "If you combined Stax's raw production style with the type of sweetness that characterized a lot of Chicago, Detroit and Philadelphia soul and added a reggae beat, the outcome might sound something like Black Roots.'' --Wiki

'Recorded for Island's Mango label in 1979, Black Roots is among Sugar Minott's earlier solo efforts and is also among the best albums that the Jamaican singer ever recorded. Black Roots isn't an album to acquire if you're looking for slickness; Minott favors simplicity throughout this LP, which often recalls the northern soul and sweet soul of the '60s. If you combined Stax's raw production style with the type of sweetness that characterized a lot of Chicago, Detroit and Philadelphia soul and added a reggae beat, the outcome might sound something like Black Roots. You'd also have to add Rasta-oriented lyrics because most of Black Roots reflects Minott's Rastafarian beliefs and is extremely sociopolitical -- this is true of the single "Hard Time Pressure," as well as "Mr. Babylon Man," "Oppressors Oppression," "River Jordan," and the title song. Minott went on to record many more albums in the '80s and '90s, but he never sounded better than he does on Black Roots.' -AllMusic Review by Alex Henderson

1. Mankind 2:18
2. Hard Time Pressure 3:25
3. River Jordan 3:10
4. Jail House 2:16
5. I'm Gonna Hold On 2:39
6. Oppressors Oppression 3:50
7. Two Time Loser 3:07
8. Black Roots 2:31
9. Clean Runnings 3:02
10. Mr Babylon Man 2:49


A great collection from Joseph Hill, may his soul rest in peace. Compilation of Culture's four albums (on two CDs) recorded for Virgin's Front Line label: Harder Than The Rest (1978), Cumbolo and International Herb (both 1979), plus the unreleased 'Black Rose' album, some tracks of which were finally released on Trod On in 1993.

'Shortly after being formed by Joseph Hill Kenneth Paley and Albert Walker in the mid-seventies, Culture joined the roster of Kingston-based producer, Joe Gibbs for whom they recorded a stream of Roots classics, including the 1977 breakthrough hit, 'Two Sevens Clash'. The following year, the group signed with Sonia Pottinger, who between 1978 and 1979 provided Richard Branson's recently launched Virgin Front Line imprint with four of sublime long players: 'Harder Than The Rest', 'Cumbolo', 'International Herb' and 'Black Rose'. Widely acclaimed upon their release, the first three of these albums soon became regarded as Roots classics. Now, after over 35 years, this long-lost masterpiece finally sees its long-overdue release on this essential 2CD collection, which also features the legendary trio's three other Front Line LPs, so highlighting Culture's complete recorded works for Virgin's esteemed label.'

Essential 4LP set of Classic era (mid to late 1970's) harmony Rural Reggae

Culture - Culture On The Front Line 2CD - CAROLR003CD
2CD set featuring 4 LP's (Harder Than The Rest’, ‘Cumbolo’, ‘International Herb’ and ‘Black Rose’), produced by Sonia Pottinger,recorded in 1978-1979.
Often compared to Burning Spear in vocal style but with a much lighter and more upbeat approach, Joseph Hill's lyrical and vocal skill are backed by some of the finest voices (Albert Walker & Kenneth Paley), and players that were and are a crucial part of Reggae. Add to it one of the finest producers of Classic clean sound Rocksteady and Rural Reggae music (Sonia Pottinger) and one of the finest Classic Reggae recording Studios (Treasure Isle) and you have four essential Reggae Lp's on two discs from a crucial time in Reggae history (1978-1979).

Harder Than the Rest (1978)

'The string of albums Culture recorded during the late '70s contained some of the most reliably solid sets from the tail end of reggae's roots era. These early releases for the production team of Joe Gibbs and Errol "E.T." Thompson yielded the group's finest work. Following an unfortunate engagement at Duke Reid's famous Treasure Isle studios (the results of which can be found on the unauthorized Africa Stand Alone), the vocal trio hooked up with Sonia Pottinger and engineer Errol Brown. The partnership, kick-started by Harder Than the Rest, proved highly fruitful, producing a series of albums that closely approached the quality of the earlier releases. This 1978 set finds lead singer Joseph Hill and harmony vocalists Albert Walker and Kenneth Dayes in a mellow mood. Though the melodies can suggest otherwise, by the sound of Hill's voice, the singer can't quite disguise the weight of his words. Songs detail the group's concern for the people of their community in general, and for Rastafarians specifically, driving home a series of lessons, warnings, and pleas. The one song that attempts to dodge these realities, "Love Shines Brighter," is unfortunately marred by over-sentimentality. The typically excellent assembly of session men respond to such material with an appropriately light touch: the exemplary rhythm work of keyboardists Ansel Collins and Earl Lindo and guitarist Willie Lindo is kept under close watch by the great Sly Dunbar. The drummer's playing is effortless as he alternates the makeup of a particular pattern or subtly changes up the rhythm, heading into a chorus. Closer attention to the backing for tracks like "Behold," "Tell Me Where You Get It," and "Vacancy" reveals the sort of strength, though subtle, that drives the best roots music.' -AllMusic Review by Nathan Bush

1.1 Behold 4:39
1.2 Holy Mount Zion 3:40
1.3 Stop the Fussing and Fighting 4:49
1.4 Iron Sharpening Iron 3:52
1.5 Vacancy 3:48
1.6 Tell Me Where You Get It 4:09
1.7 Free Again 2:53
1.8 Work On Natty 3:56
1.9 Love Shine Bright 4:02
1.10 Play Skilfully 4:14

Cumbolo (1979)

Cumbolo- a lost reggae classic
by Eric Doumerc
(April 2019)

Joseph Hill was born in 1949 in the parish of St Catherine in Jamaica and became involved in the music business from an early age, eventually playing in a band called the Soul Defenders which was one of the backing bands at Studio One and with which Hill played percussion, provided background vocals and recorded songs like "Take Me Girl."

The work Hill did with them can be heard on the Heartbeat CD The Soul Defenders at Studio One (1991). Hill also recorded an early track called "Behold" at Studio One, which was later released on the Heartbeat compilation Full Up - Best of Studio One Vol.2.

A few years later Jospeh Hill formed a band with his cousin Albert Walker and his friend Roy Sylvester Dayes in 1976. The group was given the name "Culture" by the musicians recording at Joe Gibbs’ studio as their lyrics were so serious or "dread." The songs recorded during these sessions provided the material for a first album entitled Two Sevens Clash which was released in 1977.

The title song became a hit and its apocalyptic leanings caused the whole of Jamaica to shut down on July 7th, 1977, when four sevens clashed. Other outstanding songs on the LP included "Pirate Days," (a history lesson setting the record straight with its chorus "The Arawaks, the Arawaks, the Arawaks was there first!)," "I’m Not Ashamed" and "See Dem a Come," based on an old Studio One "riddim." Two Sevens Clash reflected the dread mood of the time (the late 1970's) and was steeped in Rastafarian symbolism. The song entitled "Jah Pretty Face" sounds like a prayer.

In the late 1970s, Culture went from strength to strength and recorded a string of albums which established the trio as one of the greatest reggae acts on the scene. These LP's included Africa Stand Alone (April Records, 1978), Harder than the Rest (Frontline, 1978; Joe Gibbs, 1978), Cumbolo (High Note, 1978), and The International Herb (Frontline, 1979).

Cumbolo is one of the most underrated Culture albums and deserves to be rediscovered in 2019, that is thirty years after its original release. The title-track is in fact Jamaican Creole for a parasite or a free-loader, someone who exploits other people and preys upon them. Hill defined the term in a 2001 interview with the journalist Carter Van Pelt for his radio programme on KZUM in Nebraska: "a group of culprits, which has no ambition, don't want any education, don't want to see anything good and progressive. Anywhere there are two or three of those gathered, we call them "cumbolo." The parasites identified by Hill are said to "eat I bread" and Hill laced his lyrics with well-known proverbs to make his point ("Birds of a feather flock together").

One of the outstanding tracks on the album is "This Train," a reggae version of an old spiritual originally recorded in 1922 by Florida Normal and the Industrial Institute Quartette. Later on, the song became even more popular when Sister Rosetta Tharpe released her own version in the 1950s. Over the years, Johnny Cash, Woody Guthrie, Pete Seeger, Little Walker and the Staple Singers all released their own versions of that spiritual. That tune has also remained perennially popular with reggae artists, and the Wailers recorded their own version for their Wail'N'Soul'M label in 1968. So did Bunny Wailer for his Blackheart Man album (Island, 1976):

This train is bound for glory, this train.
This train is bound for glory, this train.
This train is bound for glory,
Don't carry nothing but the righteous and holy.
This train is bound for glory, this train.

On "Mind Who You a-go Beg for Help," Hill recycles an old fable by Aesop: the fable of the cricket and the ant. A cricket sang during all summer and when winter came he realised that he not saved any food. He then went to his friend the ant to beg for food. The ant replied that since he had sung all summer, now all he had to do was to dance all winter. Hill mixes this fable with the biblical parable of the foolish virgins to warn people against improvidence. This moralitty tale is backed by wonderful musicians recorded at the old Duke Reid studio.

But the track which was to make the trio very popular was "Natty Never Get Weary," which relates how Hill was one day stopped and searched by the police and taken to the Golden Square police station. He remained in custody for a few hours only, but the experience was a to have a lasting effect:

I was standing on the corner reasoning with two daughters,
Reasoning with Jah equal rights and justice,
Teaching them of the way they ought to live.
Here comes the Babylon to ride and arrest I.

The heartfelt sincerity with which Joeseph Hill delivered the track on the album and then on stage made sure it became a favourite with the fans and the band often used it to close their concerts, with the band jamming on a dub version of the tune, often mixing it with a version of the hymn "Jordan River."

The Cumbolo album also included two tracks which were steeped in Jamaican history, "Down in Jamaica," which was a tribute to Marcus Garvey, and "Innocent Blood" which commemorated the Morant Bay rebellion (1865) and its leader Paul Bogle:

Paul Bogle walk from Spanish Town to Stony Gut
For the justice of black mankind.
Nine man and himself maintained
When he reach Spanish Town,
They refuse to hear what he was saying.
So they walk away and say: "Come on!
"Let's form our own government!"
Then straight after that you could see
Where the rebellion start

Joseph Hill passed away on August 19th, 2006 in Berlin halfway through Culture’s European tour. He was 57 years old. As soon as his passing became known, tributes began to appear on the internet and in the print media. The reggae community was obviously mourning one of its greatest singers, performers and writers. He is sorely missed today.


Dooley, Jim. "Natty Never Get Weary Yet – The Story of Culture," The Beat, Vol.22, no. 5, 2003

Van Pelt, Carter. Interview with Joseph Hill, Lincon, Nebraska, October 2001, KZUM.

Eric Doumerc is the author of a book on the reggae harmnoy trio Culture, which was published in France in October 2018: Natty Dread Taking Over: la saga du groupe Culture (Camion Blanc).

1.11 They Never Love in This Time 4:41
1.12 Innocent Blood 5:43
1.13 Cumbolo 3:59
1.14 Poor Jah People 5:43
1.15 Natty Never Get Weary 3:54
1.16 Natty Dread Naw Run 3:51
1.17 Down in Jamaica 4:08
1.18 This Train 4:48
2.1 Pay Day 4:18
2.2 Mind Who You Beg for Help 5:05

International Herb (1979)

'African-American R&B has affected different reggae artists in different ways. While Toots and the Maytals' gritty ska/reggae is comparable to the raw, tough southern soul that Wilson Picket, Sam & Dave and Otis Redding were known for, Culture's sweet, mellifluous style of reggae is closer to the northern soul and sweet soul that came out of Chicago, Philadelphia and Detroit in the '60s and '70s. On International Herb, ones hears a lot of northern soul influence, as well as Afro-Caribbean and African pop influences. Although not in a class with Two Sevens Clash or Baldhead Bridge, International Herb is a respectable, pleasing effort that Culture fans were glad to acquire. Virgin's original LP version of International Herb generated some controversy thanks to its front cover, which showed Culture's members smoking large spliffs while standing in front of a tall, bushy marijuana plant. Marijuana advocates loved the cover, marijuana opponents hated it and Libertarians defended Culture's right to free speech -- even if they were Libertarian teetotalers who wouldn't dream of touching a spliff themselves. The title song is unapologetically pro-marijuana, while other noteworthy tracks (including "Ethiopians Waan Guh Home," "Rally Around Jahovah's Throne" and "Jah Rastafari") put forth a very Rastafarian message. International Herb falls short of essential, but it's an enjoyable illustration of the group's talents.' -AllMusic Review by Alex Henderson

2.3 The International Herb 3:19
2.4 Jah Rastafari 3:38
2.5 If a Guh Dread 3:52
2.6 Rally Around Jahoviah's Throne 3:45
2.7 The Land We Belong 3:02
2.8 Ethiopians Waan Go Home 4:19
2.9 Chiney Man 3:29
2.10 I Tried 3:27
2.11 The Shepherd 2:40
2.12 Too Long in Slavery 3:34

Black Rose
Why was it recorded in 1979 and released in 1993 only?? What a great album! -knottydreadbr

This is one of the better albums by Culture. Its message remains contemporary even though it was done long ago. It also reflects the spirituality of Joseph Hill and the group. I would recommend this CD to anyone who is a Culture fan or who is seeking a connection with his/her inner spirit. -jasmin simpson

2.13 Black Rose 3:50
2.14 Burning 4:16
2.15 Jah Alone a Christian 5:19
2.16 (Wipe Your) Weeping Eyes 4:09
2.17 No Sin 5:18
2.18 Children of Israel 4:14
2.19 Still Rest on My Heart 4:16
2.20 Can't Study the Rastaman 3:59

Musicians include: Often known as The Revolutionaries
Drums : Sly Dunbar & Mikey Boo Richards
Bass : Robbie Shakespeare & Ranchie
Guitar : Willie Lindo & Ranchie & Rad Bryan
Keyboards : Ansel Collins & Earl Wire Lindo & Harold Butler
Trumpet : David Madden & Clive Hunt
Tenor Saxophone : Cedric Im Brooks
Alto Saxophone : Deadly Headly
Trombone : Vin Gordon
Percussions : Uziah Sticky Thompson

Studios : Treasure Isle (Kingston, JA)
Engineer: Errol Brown

Sound mastering is Pristine with the last 8 tracks (Black Rose LP) having slightly heavier bass.
An alternative version of Black Rose LP (the 2nd part of CD2) is available: Trod On (Heartbeat CD - HBCD 0137) 1993 release.
Dub (echo-o-o-es) versions to some of the songs are on: Errol Brown & The Revolutionaries ‎– Culture Dub & Medley Dub -- Doctor Bird ‎– DBCDD-038

Incl. scans


Early Culture tracks niced up inna deejay style.

'The first few albums by Joseph Hill and Culture were classic not only by virtue of the trio’s Afrocentric themes and hair-raising vocals, but because of the rockers riddims hardened by producer Joe Gibbs as well.

The tracks on this disc are extended mixes of select scorchers that originally appeared on the Two Sevens Clash, Baldhead Bridge and More Culture albums, with the main body of each song stretching into a dubbed-out section of deejay patter. The deejays include such giants as I-Roy, Prince Far I, Ranking Joe and Nicodemus and whether their additions elucidate further on the subject matter of the tune (such as Bo Jangles’ “Prophesy Reveal” tag on “Two Sevens Clash”) or simply add a new and clever dimension (U Brown proclaiming the need to “Rock it Up” as the riddim of “Innocent Blood” plays on), it’s a treat to hear these landmark songs expanded upon so. As mentioned in the liner notes, Culture never resorted to slackness in their music. Similarly, the grafted-on patter here keeps it sufficiently cultural even if the deejay involved is more intent upon expertly riding the riddim than preaching from a Rasta pulpit.

A newfound appreciation of the original songs results from immersing oneself in this collection, along with a sadly heightened realization of just how deeply reggae music was impacted by the deaths of Joseph Hill, Joe Gibbs and co-producer Errol Thompson. Blessings to the 17 North Parade reissue label for putting this out.' -Tom Orr

Bob Marley (L) with Joseph Hill (R), lead singer of Culture
R.I.P. Joseph Hill, you will be missed

'This collection was released after the death of Joseph Hill. All the songs were recorded in the late 70's at Joe Gibbs recording studio. It is esentally Culture doing some of their early works with various Jamaican D.J.'s. A real treat for any fan of Culture. A must have, 10 stars. R.I.P. Joseph Hill, Jah Bless, One Love.' -Jason H.

'In reggae the purpose of the 12" single was to house the "disco mix," an antiquated term that has little to do with the American definition of "disco." These were extended mixes of any given track that often bumped the original against the dub or the maybe the version. It was the version that launched the Jamaican "deejay," which once again has little to do with the American version of DJ. These deejays were toasters like U-Brown, U-Roy, and Dillinger, artists who proto-rapped their lyrics over instrumentals, laying the foundation for dancehall and even hip-hop. Usually these deejay versions are compiled on their own by crucial labels like Blood & Fire and Soul Jazz, but VP's reissue imprint 17 North Parade has taken a refreshing attitude toward these tracks and here re-creates the Jamaican 12" experience. The tracks on their Culture and Deejays at Joe Gibbs release all feature the hit going straight into the version, not always a smooth transition, as the jarring change in sound quality found in "Two Sevens Clash/Prophesy Reveal" displays. Still, these disco mixes stretch the groove to a satisfying length and offer a truly Jamaican feel, with segues being as rough and tumble as the giant speakers the JA soundsystems dragged around. Big Culture hits like "Two Sevens Clash," "See Them a Come," and "Natty Dread Taking Over" plus important deejay names like I-Roy, Clint Eastwood, and Prince Far I make this a necessary purchase for the reggae faithful, but what makes it special are the unexpected moments. The forgotten deejay Bo Jangles is fascinating as he humorously calls a horse race on "Jah Love/Selassie I Cup," then gets serious and stern in a dub poetry style for "Two Sevens Clash/Prophesy Reveal." The ominous story of Al Capone that I-Roy lays on "I'm Not Ashamed" is accompanied by car-crash sound effects, while the underappreciated Nicodemus' performance on "Disco Train" -- "The Train" renamed for the 12" format -- is nonstop brilliance. The sound quality isn't perfect and not every deejay version is essential, but Culture fanatics or Jamaican music fans unfamiliar with the disco mix are going to love this well-presented, seldom-heard slice of reggae history.' -AllMusic Review by David Jeffries

1. Culture With Bo Jangles - Two Sevens Clash / Prophesy Reveal 6:09
2. Culture With I-Roy - I'm Not Ashamed 8:19
3. Culture With Shorty The President - See Them A Come / Natty Pass Him G.C.E. 6:28
4. Culture With I-Roy - Natty Dread Taking Over 6:15
5. Culture With Ranking Joe - Baldhead Bridge 7:15
6. Culture With Bo Jangles - Jah Love / Selassie I Cup 5:50
7. Culture With Prince Mohammed - Zion Gate / Forty Leg Dread 7:32
8. Culture With Nicodemus - Disco Train 8:55
9. Culture With Clint Eastwood - Send Some Rain 7:05
10. Culture With Prince Far I - Burning All Illusion / The Same Knife 5:48
11. Culture With U Brown - Innocent Blood / Rock It Up 6:03


Previously released in Peru by the Pontificia Universidad Católica del Perú in 1985.

'The Peruvians dwelling high in the Mantaro Valley have a specific kind of music for just about every kind of activity. When on their way to work in the potato fields, a flute and drum duo play a song known as a pascalle. Once they reach the fields, the musicians change their tune to complement the specific work being done. When building homes -- a communal process known as pirkansa -- an interactive polyphonic music is sung. And so it goes, from the marking of goats and cattle to commemorating the emancipation of enslaved Africans, the cultural soundscape of the Mantaro Valley ebbs and flows with each day's happenings.

On Traditional Music of Peru, Vol. 2: The Mantaro Valley a generous cross-section of these musical performances are presented. Drawn from the Peruvian Archives of Traditional Andean Music by ethnomusicologist Raul Romero, the CD's 21 tracks feature upbeat dance tunes and mournful Quechua dirges alike. The combination of European band instruments -- such as clarinets, saxophones, and violins -- with Amerindian instruments and musical aesthetics results in a sound that is unique, though at times reminiscent of klezmer or jazz. All in all, this CD presents a superb sounding slate of tunes while underscoring the deeply integral nature of music among Mantaro Valley inhabitants.' -AllMusic Review by John Vallier

1. For Potato Growing: Pascalle - Leoncio Miranda 1:26
2. For Reaping Barley: Cebada en Pampa - Nicolás Pérez 0:52
3. For Threshing at Night: Quillaway - Alberto and Felipa Mayta 1:14
4. Song of the Pirkansa - Three women singers 1:32
5. Funerary Response - Adolfo Palacios 2:47
6. Paseo - Natalia and Maximo Cunyas and Hilarion Rivera 10:47
7. Luci Luci - Natalia and Maximo Cunyas and Hilarion Rivera 1:55
8. Coca Kintu - Natalia and Maximo Cunyas and Hilarion Rivera 1:25
9. Tangra of the Cow - Olga Caballero, Hugo Casa Ramírez, Máximo and Maciste Núñez 3:04
10. Ram's brand - Olga Caballero, Hugo Casa Ramírez, Máximo and Maciste Núñez 2:34
11. The Auquines - Group from Matahuasi 1:04
12. The Huaylijía - Group from Marco 1:55
13. The Corcovados - Group from San Agustín de Campo 2:24
14. The Chacranegro - Group from Muquiyauyo 2:25
15. The Pachahuara - Brass band from Acolla 2:44
16. Marqueño Carnival - Group from Marco 1:15
17. The Jija - Group from Paccha 2:24
18. The Shapis - Orquesta típica of San Pedro de Saña 1:28
19. The Chonguinada - Orquesta típica of San Agustín de Cajas 1:39
20. The Tunantada - Orquesta típica of Acolla 1:41
21. Huaylas - Orquesta típica of Huanchar 1:20

Incl. PDF

Bomba; Brass band; Cimbalom; Clarinet; Drum; Flute; Harp; Pincullo; Pito; Saxophone; Tambor; Tinya (Drum); Trombone; Trumpet; Tuba; Violin; Vocals; Wak'rapuku


For ethnomusicologists and lovers of Peruvian folks

These 22 tracks, recorded in 1990-1991 in the three cultural regions (Creole, Afro-Cuban, and Andean) of the Department of Lambayeque in northern Peru, feature music of festival dances and songs accompanied by a variety of instruments, and Christmas carols sung by children. "The collection's aural quality has a surreal edge and its purity of spirit is spellbinding." - Americas

1. Chimo - n/a 3:57
2. Chirimía and Caja - n/a 1:39
3. Taki I - n/a 1:47
4. Taki II - n/a 4:17
5. Triste con Fuga de Huayno - n/a 1:32
6. Marinera con Fuga de Huayno - n/a 5:04
7. Diabilicos - n/a 3:46
8. Toque de Negritos - Adriano Ferroñán Damián 0:44
9. Negritos - Victorino & Aurelio Acosta 2:53
10. Pastoras de Mórrope - Melchor Bances 2:41
11. Pastoras - Melchor Bances 1:12
12. Pastoras de Jayanca - Melchor Bances 1:15
13. Ingleses o Magaros - Carlos Inoñán Ipanaqué, Nicolás Vargas Sandoval, and Santos Gonzales Dávila 1:33
14. Marinera con Fuga de Huayno - Victorino Acosta Chozo and Martín Acosta Seña 4:32
15. Marinera: 300 Pounds of Gold/300 Libras de Oro - Jorge Mendoza and Baltazar Quesquén 3:51
16. Marinera: The Potter/El Alfarero - Rudecindo Maco, Ramos Sandoval 2:47
17. Limpieza de Cauces (Pregón de Mórrope) - Celestino Santisteban Damián 0:45
18. Los Reyes Magos - n/a 2:33
19. Triste - José Lisera 1:08
20. Coplas I - José Lisera 1:27
21. Coplas II - El Jefe, Víctor Gamarra 1:23
22. Marinera - El Jefe, Víctor Gamarra 1:22

Incl. PDF

Banjo; Bells; Bombo (Drum); Caika (Drum); Caja (Drum); Cajón (Drum); Charango; Chirimia; Clarinet; Cymbals; Drum; Flute; Guitar; Harp; Kena; Oboe; Percussion instruments; Pincullo; Platillos (Cymbals); Quena; Saxophone


For ethnomusicologists and lovers of Peruvian folks

'This 8th and final volume of the acclaimed series Traditional Music of Peru features the musical and cultural diversity of Piura. From the coastal areas influenced by indigenous Tallan and Afro-Peruvian traditions to the Andean highlands, this CD contains ceremonial music, secular songs, and music for dances and popular theater. Many of the performances feature brass bands, others are performed by string ensembles, while other are sung to guitar, flute, harp, or drum accompaniment. Recorded throughout 1994, this collection illuminates another facet of the richness of traditional music and cultures in Peru.' -Folkways

'This is the last cd of an excellent collection put forward by the efforts of the Smithsonian institute and the Andean Traditional Music Archive of the Catholic University in Lima. Piura is in the North of Peru, in the border with Ecuador and its music will resemble nothing to the better known indigenous music from outhern Peru, whether the sikuris from the Titikaka area or the ellaborate orchestras from Cuzco. The most important thing is of course the music (unrehearsed, spontaneous, beautiful, coming from the heart of the people) but all the information about the region and its cultural heritage. This is a wonderful testimony of the ever evolving rich traditions we have in South America.' -Legbamusic

'Recorded in 1994 in the Piura area of Peru, this disc explores many of the musical traditions that take place during the year, be they sacred or (more particularly) secular music, be they songs or dances, in addition to some theater music. And certainly it's the dances that offer the most musical interest here, played by bands of all sizes and instrumental variations. "Negros" is especially fascinating for its mix of clarinet and saxophone, although, on the evidence presented here, the clarinet found great popularity as an instrument with bands in this area of Peru. But you can also hear string bands and the lovely "Pastoras," sung by a mini-choir of five girls accompanied by two guitars. No one's going to say this is for a mass audience, but as an ethnomusicological document, it's invaluable, recording traditions that have roots deep in Peru's history -- although how much longer they might survive in the modern world is anyone's guess.' -AllMusic Review by Chris Nickson

1. Doctrina - Pablo Cruz Carrasco with Melania Cruz and Ana Ojeda 2:47
2. Levante: Contagio - Juan Manuel Meléndez 1:05
3. Cumananas - Alipio Cruz Ramírez 0:24
4. Cumananas - Alipio Cruz Ramírez 0:22
5. Golpe de tierra - Francisco Chuinga 1:09
6. Tondero: Mi Burrito - Leida La Madrid with Roger Alméstar 3:48
7. Negro: Marcha - Señor Cautivo 2:04
8. Borregos: Tonada del rabudo - Hermanos Dedios Zapata 1:49
9. Sarahuas: Marcha - Los Cuatro Amigos 2:19
10. Garibaldi: Baile de capataz - Hermanos Dedios Zapata 2:48
11. Indios Moros: Danza - Quena and redoblante 2:20
12. Diablicos - San Pedro de Huancabamba 3:44
13. Caballito - Francisco Herna Silva 2:12
14. Barquito: Baile de los marineros - Hermanos Dedios Zapata 2:16
15. Cautivo - Saxophone, violin, and chain 1:45
16. La Loca: Segunda fuga - Luciano Ruiz Ayala 2:09
17. Pastoras: Canto - Five Peruvian girls accompanied by Walter Cruz and Juan Tino Neyra 3:25
18.Chinas - Group of adolescent girls accompanied by Walter Cruz and Juan Tino Neyra 3:29
19. Historia de las Sarahuas - Los Cuatro Amigos 1:45
20. Santiago contra los Moros: Batalla and fuga - Francisco Herna Silva 1:11
21. Historia del Bernardo del Carpio - Eustacio Ayala Cordalupo 1:39
22. Semejanza de Reyes: Adoración - Hermanos Dedios Zapata 1:52

Incl. PDF

Bell; Bombo (Latin America); Brass band; Cajón; Chungana; Clarinet; Double bass; Ensemble leader; Guitar; Kena; Mandolin; Metal, struck; Quena; Redoblante; Saxophone; String band; Tambor; Tarola; Trombone; Trumpet; Tutiro; Violin; Vocals; Vocals, group; Whistle; Wood, struck

East Coast/ NY

Sweet latin soul. If the east coast latin sound is your thing then don't miss out on these. Good sound, big horn sections, just can't go wrong.

'Collection of latin soul tracks from the late 60's and arly 70's. All East Coast/ NY Bands. Rare recordings on this compilation. Intended for promotional use to educate the public of this incredible sound.'

The Sweeter Side of Latin Soul, Vol. 1 (Latin Soul Recordings):

1. Ralfi Pagan - Negrona 3:17
2. Paul Ortiz Y La Orquesta Son - Tender Love 3:39
3. Paul Ortiz Y La Orquesta Son - There's No Feeling 4:16
4. The New Generation Orchestra - I'm No Fool 4:11
5. Frankie Nieves - It's Better To Cry 4:42
6. Harvey Averne - Accept Me 2:40
7. Orquesta Olivieri - There's No Other Girl 3:17
8. Conjunto La Perla - If I Should Lose You 2:33
9. The Bennito Sextet Plus One -Love Is To Say 3:49
10. Hector Rivera & The Latin Renaissance - I Want You, I Need You, I Love You 4:18
11. Joe Acosta - I Need Her 3:04
12. The Orchestra Soledad - Just Like A Fool 5:12
13. Dax Pacem Orchestra - I Do Love You 4:34
14. TNT Boys - I Wanna Make Out With You 3:01
15. Joey Pastrana And His Orchestra - Sincerely 4:10
16. Chuito & The Latin Uniques - Wish I Could 4:46
17. Candido Y Su Movimiento - Baby Doll 3:25
18. Orchestra Capri - I Regret 3:26
19. Chollo Rivera & The Latin Soul Drives - I Could Never Hurt You Girl 3:30
20. Ralfi Pagan - Baby I'm A Want You 2:51
21. Mantrap - Suavecito 4:59

'Latin Soul continues with a further collection of songs straight out of the barrio that was the Spanish Harlem, New York. Recorded mainly in the 1960s-70s this is soul music performed by latin musicians with many of the tracks sung in English. The folks that gave you the "Soulful Thangs Series" are now giving you a magnificent masterpiece "The Sweeter Side of Latin Soul." Latin Soul Recordings did it again. The Sweeter Side of Latin Soul will take you back to that memory lane of New York City's Sexy Latin Groove that originated in Harlem (Eastside) in the 60's and 70's.'

The Sweeter Side of Latin Soul, Vol. 2 (Latin Soul Recordings):

1. Ralfi Pagan - I Can't See Me Without You 3:37
2. Orquesta Dee Jay - Forget It 4:01
3. Brooklyn Sounds - Rain 3:53
4. Rey Davila - Falling Star 3:20
5. Orquesta la Fantastica - Latin Blues 4:54
6. Eddie Lebron - My Vows To You 2:38
7. Landy Nova - Oh Love 3:46
8. Ralph Robles - Maybe 3:34
9. Joe Acosta - Loneliness 3:41
10. Eddie Hernandez - The Time Was Yesterday 3:21
11. Orquesta Soledad - I'll Make You a Queen 3:54
12. Harvey Averne Dozen - My Dream 3:02
13. Ralfi Pagan - My Dream 3:29
14. The Lebron Brothers - Don't Be Afraid 3:03
15. Landy Nova - There's No One to Blame 3:36
16. Aguabella - Image of a Star 4:58
17. TNT Band - That's life 2:59
18. Conjunto La Perla - Speak Softly Love 4:33
19. Benitez - I'm So Sad 4:31
20. Jarito Y Su Combo - Crosstown 3:23
21. Azuquita - Dark Woman 3:52

Thailand and Laos

A colourful album of exotic and beautiful music from Thailand and Laos, enchanting, hypnotic and full of charisma. Authentic recordings, made in the field, in the musicians’ natural environment, with all the mystery of the East surrounding it.

David Fanshawe (1942-2010) was a composer, ethnic sound recordist, photographer and TV personality. His ambition to record indigenous folk music began in the Middle East in 1966, and intensified on subsequent journeys through North and East Africa (1969-75). Davids legacy is cemented in the Fanshawe Collections, some 3000 tapes and 60,000 images recorded on his travels in Arabia, Africa, South East Asia and the Pacific between 1967-94. This colorful album of exotic and beautiful music from Thailand and Laos, recorded by Mr. Fanshawe, is enchanting, hypnotic and full of charisma.

“Music and Travel is my trade mark
Life is my source of inspiration
Life inspires me to create
I am a Composer and Explorer”
-David Fanshawe

'David Fanshawe was, among many others things, a composer, ethnic sound recordist, photographer, TV personality, and a Churchill Fellow.

His ambition to record indigenous folk music began in the Middle East in 1966, and was intensified on subsequent journeys through North and East Africa (1969-75) and the Pacific (1978-88) resulting in his unique and highly original blend of music and travel. His work has been the subject of BBC TV documentaries including African Sanctus, Arabian Fantasy, Musical Mariner (National Geographic) and Tropical Beat.

Having led a truly remarkable life, David died suddenly in July 2010. David’s legacy is cemented in the David Fanshawe World Music Archive, recorded on his travels in Arabia, Africa, South East Asia and the Pacific between 1967 and 1994. Held in a special Trust, this integral Collection of original source material contains 3,200 analogue tapes, 40,000 colour slides and 70 hand-written journals. The Trust aims to protect and preserve the Archive maintaining the integrity of the collection and its contents. The Trust aims are threefold: to protect and preserve the Archive maintaining the integrity of the collection and its contents; complete the digitisation of all components of the Archive and its evolving catalogue and to promote the Archive as an accessible academic resource.

Life itself may have inspired David, but David’s life has been an inspiration to countless others. His work formed the basis of what we now call world music, long before the term was coined.'

'There are hundreds of hours' worth of songs, dances and rituals, an entire ethnological treasure-trove, that David recorded painstakingly around the world belonging to tribes and communities in developing countries whose heritage since then - the 60s, 70s and 80 - has since disappeared. He has saved for posterity the voices of their ancestors and the musical footprint of their existence. David's passion for the music of other cultures was never touristic, he had a deep respect for the people and cultures he engaged with and believed that the recording of their music was an act of love and admiration, which it was. As every decade passes since he conducted his monumental task, his contribution will seem ever greater, ever more precious, to rank alongside that of Bartok in Hungary or Evgeniya Lineva in Russia at the turn of the 20th century. His own composing paid tribute to his research into other cultures but retained an authentic, heartfelt Britishness, confirming the truth that it is only by appreciating one's own culture that one can truly relate to those of others, as equals. He will be sorely missed as a musician, friend, composer, but beyond the personal, his contribution to the preservation of now lost musical wonders of the world was a towering achievement that can never be matched or repeated. The world of music is a hugely poorer place without him.'
Howard Goodall – composer and broadcaster

Laos / Thailand
1. "Lao Chao Su" 2:37
2. "Champa Muang Lao" 4:46
3. Phin Lute Solo 1:12
4. Pong Lang Xylophone 2:25
5. Soeng Kong Yao Festival 1:51
6. Mor Lam Sunthorn 3:31
7. Mor Lam Ratri Srivilai 3:20
8. National Cultural Festival Udon Thani 4:06
9. Boon Pra Wes Festival Ban Tharua 3:18
10. Saek Pole Dance 1:31
11. "Lieng Pii" - Offering To The Spirits 3:24
12. Mekong River Song 4:34
13. Hmong Khaen 1:40
14. Luang Prabang Pi Mai 3:24
15. Dance Of The Angels 8:00
16. Lak Paed Song 1:35
17. Pao Pii And Tōt Flute Solos 2:16
18. Pen Sim On - Song Of Nature 3:35
19. "Champa Muang Lao" (Reprise) 4:48
20. Manora Dance 5:56
21. Otea Tamarii No Rurutu 1:25

Full title is "Music From Thailand And Laos - Dance Of The Angels", but that version only appears on the back cover.


Les Grands Classics Congolais. Rien que des tubes ''Versions Originales''

Various ‎– La Belle époque Volume 1
Label: Glenn Music ‎– GM324001
Format: CD
Country: France
Released: 1994
Style: African

1. Pamelo Mounk'a, Orchestre Le Peuple - Alleluia Mounk'a (akapela) 1:19
2. Kosmos Moutouari, Les Bantous De La Capitale - Milena 5:06
3. Pamelo Mounk'a, Les Bantous De La Capitale - Maswa 5:28
4. Passy Mermans, Les Bantous De La Capitale - C'est Sèrieux Tantine 4:41
5. Pamelo Mounk'a, Les Bantous De La Capitale - Mama Na Mwana 5:46
6. Abangui Gilbert, Les Bantous De La Capitale - Marie Rose (Rendez Vous...) 3:45
7. Gérard Biyela, Gérard Géry, Les Bantous De La Capitale - Lisie 4:38
8. Bitsikou Théo, Les Bantous De La Capitale - Congo Vellita 4:33
9. Jean Serge Essous, Les Bantous De La Capitale - Lolaka Lua Boso 3:24
10. Théo Bitsikou, Orchestre Les Nzoy - Am'Luisi 5:47
11. Passy Mermans, Orchestre Les Nzoy - Owelaki Mingi 5:04


Originally released in 1972, this is the long awaited re-release on Vampi 2020. A perfect companion piece to Pedro Santos classic 'Krishnanda'.

Scarce LP recorded in Argentine by the Brazilian percussionist & guitarist, features the samba funk tune "Tornei a caminhar" and the batucada "escola de samba", also several solid bossa nova tracks w/ Sebastiao Tapajos leading the guitar.

'Brazilian guitarist Sebastiao Tapajos usually records in a relatively mellow mode – but here, he'd working with percussive backings from Pedro Dos Santos – who plays a wide variety of instruments, and really adds a lot to the sound of the set. There's kind of a bossa guitar with percussion vibe to the record – although Tapajos' style always moves past just straight bossa – and Pedro handles all sorts of percussion elements, and even brings in some cool vocal effects.' -Dusty Groove

'Recorded and originally released only in Argentina in 1972, the album shows an exquisite and delicate dialogue between the guitar of Sebastião Tapajos and the percussion provided by Pedro Dos Santos that generates ambiences of unusual beauty and depth. From the personal approach to Jobim's classic 'Samba Do Aviao' to the energetic and fast paced 'Ganga', the album opening song, the mysterious beauty of 'Rio Das Ostras' to the cinematic moods of 'Ambush' (bossa meets action film music?), this "Vol. 2" is absolutely wonderful from beginning to end. It is a necessary complement to the much hailed Pedro Dos Santos album "Krishnanda" in the collection of anyone with an interest in the most adventurous sounds of Brazil and also an essential work in the discography of Sebastião Tapajos. Includes the killer samba funk tune 'Tornei a caminhar'.

The ION studios, located in the Buenos Aires neighborhood of Balvanera, have been the usual setting for recordings by Argentine artists as popular as Les Luthiers or Charly García. In the early 1970s they also hosted Brazilian guitarist Sebastião Tapajos for several sessions accompanied by other musicians such as Arnaldo Henriques, Maria Nazareth or Pedro "Sorongo" Dos Santos. Two albums would be published in the Argentine record label Trova of the recordings along with the latter.

In this "Vol.2" the connection between the delicate guitar of Tapajos and the surprising experimental percussion of Pedro Dos Santos, based on unusual objects such as spoons, deodorant containers or matchboxes, creates extraordinary beauty throughout the 12 songs on the album. The sound of the flute is another of the ingredients present in several of the songs and, although his actual involvement is not confirmed on the sleeve credits of the album, everything seems to indicate that Danilo Caymmi was the musician invited to accompany the Tapajos-Dos Santos duo.

Since its first release in 1972, this album has been highly sought after by all Tapajos fans, both inside and outside Brazil, becoming a title hard to get hold of due to the fact that it was initially only published in Argentina. Years later, when Brazilian rhythms were incorporated, along with jazz, to the spectrum of sounds regularly played at London clubs, by DJs such as Gilles Peterson or Paul Murphy, a renewed interest in this album arose as it includes the killer dancefloor tune 'Tornei a caminhar', an amazing samba funk number. But the general vibe of this solid album is driven by an exquisite and delicate dialogue between the guitar of Sebastião Tapajos and the rhythmic approach provided by Pedro Dos Santos that generates ambiences of unusual beauty and depth. From the personal approach to Jobim's classic 'Samba Do Aviao' to the energetic and fast paced 'Ganga', the album opening song, the mysterious beauty of 'Rio Das Ostras' to the cinematic moods of 'Ambush' (bossa meets action film music?), this "Vol. 2 "is absolutely wonderful from beginning to end. It is a necessary complement to the much hailed Pedro Dos Santos album "Krishnanda" in the collection of anyone with an interest in the most adventurous sounds of Brazil and also an essential work in the discography of Sebastião Tapajos.'

'The term ‘lost classic’ gets bandied about a little too frequently these days, as more and more reissues emerge from a dim and distant past. ‘Lost’ this lovely little album certainly was. Originally, it was recorded in Buenos Aires and first released only in Argentina back in 1972. Given that its hallmark is the delicacy of the interplay between acoustic guitarist, Sebastião Tapajos, and the inventive percussionist, Pedro ‘Sorongo’ Dos Santos, it’s incongruous that “Tornei a Caminhar”, one of only two tracks here that could have conceivably tempted people onto a dance floor, should have renewed interest in the album during the heyday of the London Latin/jazz dance scene.

As for ‘classic’? Well… it’s certainly a rather remarkable affair in its own quiet, unassuming way. Tapajos plays beautifully throughout, recalling the likes of Toquinho and Baden Powell. But the real star of the show is Dos Santos, whose percussion is both discreet and highly imaginative. On “Ganga”, for example, the up-tempo opener, he uses heavy breathing and the simulated sound of castanets to push the guitarist along. On his solo tour de force, “Escola da Samba”, double-tracking allows him to build up the individual layers to create a virtuoso one-man samba school. If this is the one track that could be possibly be labelled as ‘showy’, the other 10 tracks on which he plays suggest that it is not simply done for effect.

Tapajos’ solo slot, “Feitio de Oração”, is the very model of taste and discretion – two qualities here in spades throughout. Like most of the tracks, it serves to exemplify the maxim, ‘Less is more’. On several tracks, it’s just the two of them, with Tapajos playing a bass line of sorts on the lowest of his six strings. On others, a full four-string electric bass makes an appearance, particularly on the aforementioned “Tornei a Caminhar” (which also features a minimal vocal refrain and even a little bit of brass), and the quasi-cinematic “Emboscada”, which adds among other things a flute, used in a sparing and welcome fashion on the second side. Suitably, “Sambaden” serves as a brief and minimalistic closer, leaving the impression that, if not a ‘lost classic’, Vol. 2 is a little gem that went missing for too long. Sincere thanks to Vampisoul for finding it again. Now to search for Vol. 1…' -Mark Sampson

1. Ganga 3:40
2. Dora / Saudade Da Bahia 3:06
3. Catedral 2:47
4. Feitiço Da Vila 2:29
5. Laberinto 1:43
6. Escola De Samba 2:42
7. Samba Do Aviao 3:04
8. Feitio De Oraçao 3:00
9. Emboscada 3:07
10. Rio Das Ostras 2:39
11. Tornei A Caminhar 2:45
12. Sambaden 2:14


"Highly enjoyable - it's rhythmic to your bones & comprising a humour or melancholy that only comes with wisdom and the belief that the nature around you has a soul too." World Music. 

"It's all suffused with a great sense of exuberance and excitement." The Guide (Australia). 

"Both instructive and inspiring." Folk Roots. 

"It is both mesmerising in its combination of native sounds and traditions and complete in its scope. This is a unique experience and a vital document of a very important cultural tradition." Rock and Reel.

'A remarkably wide-ranging introduction to Polynesian music was recorded by David Fanshawe (the African Sanctus chap) over several sojourns in islands too numerous to list but ranging from Bora Bora to New Zealand. The contents are equally varied: religious music traditional and Christian, party music for ancient percussion and for small string bands.' ~ John Storm Roberts, Original Music

'David Fanshawe has spent over 10 years recording singers across the Pacific Islands. Traditional chants, dances & other music from Rapa Iti, Fiji, Hawaii, New Zealand, Tonga, Samoa, Tokelau, Niue, Nauru, Tuvalu, Marquesas, Tahiti, Bora Bora, Cooks and Easter Island. A comprehensive and fascinating anthology of the exciting drum dances, hulas and awe inspiring chants of the Polynesian islands recorded by David Fanshawe 1978-88.'

COME BLOW YOUR HORN: Composer David Fanshawe travelled the world in search of indigenous music – here he is recording the sound of a conch shell horn in Polynesia in 1979
David Fanshawe obituary

Charismatic composer best known for his groundbreaking choral work African Sanctus

Gary Carpenter | Sun 18 Jul 2010 | The Guardian

With his visionary African Sanctus, David Fanshawe, who has died aged 68 after a stroke, brought a new dimension to British choral music. Though it was premiered in London in 1972, the work really took off only after a television documentary three years later, when the LP version became a bestseller. For the second recording, in 1994, David added a Dona Nobis Pacem.

The popularity and ubiquity of African Sanctus – with more than 1,000 performances round the world – mask how far ahead of its time it was. It used backing tracks "live", which was uncommon even in the pop world; it in effect introduced sampling; it brought world music to the fore; it fused genres; and it scored pop, ethnic and classical instruments and vocal styles together. Most importantly though, David identified the core of truth behind all religions as a unifying rather than divisive factor, and saw a common tonality as an apt metaphor.

The success of African Sanctus led to further travel and films – notably in Bahrain, where David rode the oil pumps known as "noddies" rodeo-style and sampled oil pipes for his Arabian Fantasy album (1976). In 1978, David started a decade-long traversal of the islands of the Pacific, recording musicians in Polynesia, Micronesia, Melanesia and south-east Asia for the Fanshawe Collections, his enormous archive of world music.

CD compilations have been released from those regions, as also from the Nile, Thailand and Laos. Much of that music – including examples of the rich heritage of Rwanda – would otherwise have disappeared. Along the same lines as African Sanctus, David aimed to draw on this material to produce a choral Pacific Odyssey, but it remained incomplete, with just a single movement, Pacific Song, given its first performance in 2007.

Born in Paignton, Devon, David was introduced to the idea of the exotic, wider world by his artillery officer father whose foreign postings had included India. David was educated at St George's choir school, Windsor, and Stowe school, Buckinghamshire, where a friend's mother, Guirne Creith – herself an accomplished composer – happened to spot David's musical talent. He studied piano with her on leaving school in 1959, while working for the Film Producers Guild in London. From this apprenticeship, he gained experience as a documentary film editor and sound recordist.

Composition arrived almost by happenstance, when falling in love moved him to improvise a piano piece, Jill, that Creith encouraged him to notate. It was promptly awarded second prize in a composition competition – but for mistakes in how it was written, it would have got first, the adjudicator remarked.

Despite feeling challenged by musical theory, David auditioned for the Royal College of Music, London, but felt so disheartened by his inability to even begin the theory paper that he scrawled a swift apology for wasting the examiners' time across the page and left the building. That he was awarded a Foundation scholarship came as something of a surprise.

David started studying with John Lambert in 1965, and in the holidays travelled through Europe and the Middle East, venturing as far as Afghanistan and encountering Islamic music for the first time. Once his studies in London were complete in 1969, he set about two years of recording music from the Mediterranean to Lake Victoria, as he progressed up the River Nile, through Egypt, Sudan, Uganda and Kenya. When the musician and documentary-maker Herbert Chappell heard part of African Sanctus on the radio, he persuaded David to retrace his journey for BBC1's Omnibus series, though finding the musicians of the original recordings sometimes proved impossible.

It was on one of David's brief returns to the UK that I first encountered him, a force of nature that exploded into one of Lambert's aural training classes, still with his travelling kit, sporting his trademark "spirit" cap, given to him by an African chief, just to say hello to his professor. Lambert promoted his students' works, and premiered David's Salaams, based on the chants of the pearl fishers of Bahrain, at the Queen Elizabeth Hall, London, in 1970. David declaimed the muezzin's call to prayer against 11 voices, piano and percussion. It was radical and inspired, and sits between his extraordinary Requiem for the Children of Aberfan for orchestra and tape (1968) and African Sanctus, for which the music of the muezzin was a significant point of departure.

With his indefatigable wife Jane by his side, David was unfailingly kind and generous to his composer friends, and none of us ever left his company without feeling the better for it. His lack of confidence in his technical skills struck me as unwarranted: all his choral writing displays the expertise that reflects his Windsor years; his orchestration, whether for concert, television or film, was excellent – listen to Dover Castle or La Dame Étrange; his mastery of harmony was consummate; his timing and sense of drama were exemplary; his vast commercial back catalogue reveals a total professional; and, most importantly, David was an outstanding melodist, as evidenced by The Awakening, the piece he wrote for the cellist Steven Isserlis.

Very characteristically, David always signed autographs with the legend "I love the world." He is survived by Jane (nee Bishop), whom he married in 1985, and their daughter Rachel, and by a son, Alexander, and daughter, Rebecca, from his 1971 marriage to Judith Croasdell Grant, which ended in divorce.

Judith Croasdell writes: David was a charismatic, unconventional man whose tales of recording witch doctors and circumcision ceremonies riveted me, as did his ability to chant the muezzin.

Funded by an £800 Churchill fellowship, we set out in 1972 to continue the work. We hitched everywhere and cadged lodgings from many generous church missions. Refused permission to record in Tanzania, David was caught redhanded recording the king's sukuma drums. We were strip-searched and imprisoned. Released two days later and pronounced "persona non grata", we returned to Kenya, where we met Jonathan Leakey, then director of the Nairobi Museum, who realised the enormous value of the tapes David had collected.

Back in the UK, David produced some outstandingly original TV and film music. He was a slow writer and found composing to deadlines an agonising business. Requiem for a Village, When the Boat Comes In, Flambards, Tarka the Otter and many others were written in our London home, as was African Sanctus.

After the births of each of our children, David decided he could not do nappies and babies. In 1974, after retracing his African travels for the BBC, he hitchhiked to Sudan to continue recording alone, and returned months later with tick typhus. These journeys were brutally punishing, but he loved the thrill of the chase.

After African Sanctus and several lucrative TV scores, including The Good Companions, we moved to Surrey, but David still hankered to travel and record more music. His eyes shut, he spun a globe, his finger landed on Fiji, and in 1978, when our second child was born, he vanished to the Pacific.

After nine months he returned, buzzing with the possibility of attaching himself to the University of the South Pacific to set up a Pacific music archive; a dream which would come true. He travelled to more islands than Captain Cook, but found that recording in the Pacific was far harder than Africa. The distances were enormous and communication extremely difficult. It was a deeply exhausting enterprise, but one he was determined to complete, with his 2,000 recorded tapes, thousands of valuable slides and volumes of handwritten journals.

• David Arthur Fanshawe, composer and musicologist, born 19 April 1942; died 5 July 2010

1. Aitutaki Drum Dance (Cook Is. 1979) 2:38
2. Himene Tarava (Rapa Iti, Austral Is. 1982) 2:34
3. Poipoi -Taro Pounding (Austral Is. 1982) 1:50
4. Song Of Papa Teora (Austral Is. 1982) 1:00
5. Himene Ruau (Rapa Iti, Austral Is. 1982) 2:40
6. Bird Dance Hula (Hawaii 1981) 2:13
7. Haka Maori Welcome, N.Z. (Australia 1988) 1:42
8. Song Of Papa Kiko (Easter Is. 1986) 1:02
9. Kai Kai Of Mama Amelia (Easter Is. 1986) 0:56
10. Hoko War Dance (Easter Is. 1986) 3:03
11. Meke Wesi Spear Dance (Fiji 1978) 3:35
12. Tau'a'alo (Tonga 1978) 1:38
13. Fangufangu Nose Flute (Tonga 1978) 1:50
14. Faikava Love Song (Tonga 1978) 3:10
15. Chiefs And Orators Sasa (W. Samoa 1979) 3:15
16. Tagi Lullaby (W. Samoa 1979) 0:41
17. Tawhoe - Oar Dance (Tokelau 1981) 4:05
18. Copra Bugle Call (Tokelau 1981) 0:45
19. Mokaone's Harmonica (Niue 1981) 0:56
20. Song Of Anili (Niue 1981) 0:47
21. Frigate Bird Dance, Nauru (Australia 1988) 0:58
22. Funafuti Chorus, Tuvalu (Australia 1988) 1:14
23. Imenetuki - Gospel Chant (Cook Is. 1979) 3:41
24. Mire Of Eamaki (Cook Is. 1979) 1:24
25. Ute - Cutting Nuts (Cook Is. 1979) 1:04
26. Tapa Cloth Beating (Cook Is. 1974) 1:16
27. Palmerston Shanties (Cook Is. 1982) 1:59
28. Imenetuki (Pukapaka, Cook Is. 1982) 2:25
29. Mako Of Mama Lulutangi (Pukapaka, Cook Is. 1982) 2:20
30. Canoe Racing & Wrestling (Pukapaka, Cook Is. 1982) 2:34
31. Children's Games (Pukapaka, Cook Is. 1982) 1:59
32. Akatikatika Drum Dance (Pukapaka, Cook Is. 1982) 2:48
33. Mako Chant (Pukapaka, Cook Is. 1982) 2:15
34. Haka Tapatapa (Marquesas Is. 1982) 0:49
35. Pig Dance (Nuku Hiva, Marquesas Is. 1982) / Ruu Chant (Fatu Hiva, Marquesas Is. 1989) 2:12
36. Himene Tarava (Tahiti 1986) 2:25
37. Himene Nota (Bora Bora 1982) 3:02
38. Otea Drum Dance (Tahiti 1982) 4:03

With 'Spirit Of Micronesia' (Vol. 2) and 'Spirit Of Melanesia' (Vol. 3) creates 'Pacific Trilogy'.


Chants, hymns, dances from Kiribati, Marshall Islands, Kosrae, Pohnpei, Chuuk, Yap and Palau. Recorded in Micronesia by David Fanshawe. The second in our trilogy of albums compiled from the Fanshawe Pacific Collections, stick dances, Star Path navigating chants, marching songs and historical chants from the Republic of Palau. An important and fascinating musical document.

'Awe-inspiring chants, spine-chilling hymns and fiery dances from the Pacific island communities of Kiribati, Marshall Islands, Kosrae, Pohnpei, Yap, Chuuk and Palau from the extensive recordings made on the 1978-1984 Pacific voyages of intrepid explorer and composer David Fanshawe.'

"His recordings are considered to be of the finest professional standard, the cultural significance of David Fanshawe's work is immense. His discoveries have resulted in a legacy of inestinable value" National Film and Sound Archive

Born: 1942. Died: 2010. Lived in: England

David Fanshawe, a Churchill Fellow and the recipient of many international awards, was an internationally distinguished composer, ethno-musicologist, sound recordist, archivist, performer, dynamic and entertaining lecturer, record producer, photographer and author. Also widely known for his lead roles in documentaries; a TV, radio and public personality extraordinaire, he is acclaimed as "one of the world's most original composers."

David Fanshawe was born in 1942 in Devon, England and was educated at St George's Choir School and Stowe. In 1959 he joined the Film Producers Guild in London gaining valuable experience as a documentary film editor and recordist. In 1965, he won a Foundation Scholarship to the Royal College of Music, studying composition with John Lambert. He gained national recognition in 1970, as cantor soloist and composer, at the Queen Elizabeth Hall, with Salaams, a work based on the rhythms of the Bahrain pearl divers. His ambition to record indigenous folk music began in the Middle East, in and was intensified on subsequent journeys through North and East Africa (1969-75) resulting in his unique and highly original blend of Music and Travel. In Africa he succeeded in documenting hundreds of tribes, achieving such close rapport with local communities that they gave him special permission to record their performances. His work has been the subject of unique albums, concerts and award-winning BBC TV documentaries: African Sanctus, Arabian Fantasy, Musical Mariner (National Geographic) and recently Tropical Beat.

Compositions feature his highly acclaimed choral and archival work African Sanctus. Composed now 30 years ago, this celebratory and visionary work has received thousands of performances world-wide, from the Sydney Opera House to The Kennedy Centre, Liszt Academy in Hungary to Brazil, South Africa and the Royal Albert Hall.. Other concert works include: Dover Castle, Salaams, The Awakening, Requiem for Aberfan, Dona Nobis Pacem - A Hymn for World Peace, Tarka the Otter, Serenata, Epitaphs, Christmas music and his paean to the new millennium Fanfare to Planet Earth and Millennium March. Newest works, Trafalgar and Lament of the Seas (based on the Asian Tsunami).Commercial composing includes title and incidental music for over 50 Film and TV productions, includes: BBC's When the Boat Comes In. ITV's Flambards and Rank's Tarka the Otter. His ethnic field recordings have featured in countless TV documentaries and also feature films including: Seven Years in Tibet and Gangs of New York.

His motivational guest speaking has received international acclaim at Festivals, in many educational programmes and corporate events. He is described as "an incredible communicator with fantastic energy" "with a wide repertoire of multimedia presentations - suitable for all age groups and occasions, in today's multi-cultural and evolving world. His work has also been the subject of BBC TV biographical documentaries and radio shows, broadcast internationally including: African Sanctus, Arabian Fantasy, Musical Mariner (National Geographic) and Tropical Beat. Since 1978, his ten year odyssey, recording across the Pacific Ocean has resulted in a monumental archive, The Fanshawe Collections, comprising thousands of hours of stereo tapes, slides and hand-written journals, preserving for posterity the music and oral traditions of Polynesia, Micronesia and Melanesia and South East Asia. He has released many CD compilations from the Fanshawe Collections, including Music of the South Pacific, Spirit of Polynesia, Micronesia and Melanesia, Music of the Nile, Thailand and Laos.

David Fanshawe married Judith C. Grant in 1971, they have two children Alexander and Rebecca. He married his second wife Jane in 1985, they have one daughter Rachel and live in Wiltshire, England, home of the Fanshawe Collections. Current projects include copying and cataloguing his Pacific Collections, whilst composing his new major work Pacific Odyssey for a world premiere in the Sydney Opera House. Meanwhile his latest work "Pacific Song" was recently premiered at the American Choral Directors' National Convention by the Multicultural Honor Choir.

In 2009 The University of the West of England awarded the Honorary Degree of Doctor of Music to David Fanshawe in recognition of his outstanding contribution to bringing music from around the world into the lives of people who neither read nor write music and to his pursuit of musical excellence, which is synonymous with the aims of the University's Centre for Performing Arts. David Fanshawe said, "This award I proudly accept in the spirit of the University's ethos bettertogether. In my serendipitous career, through the adventures of Music and Travel, I have been privileged to experience our world as a composer and musical explorer. It is now my humble dream to go on sharing my aspirations with future generations, through the legacy of my Sound Archives; and by fulfilling my life's missions, which are: to celebrate the universal language of music; to record for posterity endangered World Music, threatened with extinction; to seek inspiration for my own compositions - thus uniting musical worlds apart. Thank you for this quite unexpected honour and tribute.

1. Te Kamei - Standing Dance (Kiribati 1978) 3:43
2. Te Kamei Batere (Kiribati 1978) 2:50
3. "Tibwereri" (Kiribati 1978) 1:24
4. Te Katake Chant (Kiribati 1978) 1:08
5. Te Bino - Sitting Dance (Kiribati 1978) 3:05
6. Te Orobaoki - Strike The Box! (Kiribati 1978) 3:00
7. Te Karuo - Love Song (Kiribati 1978) 2:02
8. Toddy Cutting Songs (Kiribati 1978) 3:26
9. Te Kawawa / Te Kamei (Kiribati 1978) 2:23
10. Aeroplane Song (Marshall Is. 1983) 0:38
11. Morning Star Choir (Marshall Is. 1983) 3:01
12. Presentation Of Food (Marshall Is. 1983) 3:36
13. Jebua Stick Dance (Marshall Is. 1983) 2:09
14. "Beet!" (Marshall Is. 1983) 1:33
15. Sunday Morning Service (Marshall Is. 1983) 1:29
16. Micro Palm - Copra Boat (Marshall Is. / Kosrae 1983) 0:37
17. Seamen's Dance (Kosrae 1983) 0:33
18. Kepia / Dokia - Stick Dance (Pohnpei 1983) 1:52
19. Ordination Song (Chuuk 1983) 2:35
20. Navigators Of Pulusuk (Chuuk 1983) 3:06
21. Death Of Titilap (Chuuk 1984) 1:35
22. Conche/Outrigger/Storm (Chuuk 1984) 0:51
23. Puluwat Hymn (Chuuk 1984) 1:42
24. Navigators Of Puluwat (Chuuk 1984) 1:24
25. Men's Standing Dance (Chuuk 1984) 1:52
26. Launching A Canoe (Yap 1984) 1:14
27. Dances Of Satawal (Yap 1984) 4:02
28. Songs Of Lamotrek (Yap 1984) 1:49
29. Song For Sick People (Yap 1984) 4:03
30. Star-Path Chant (Yap 1984) 1:08
31. Cradle Song (Yap 1984) 1:29
32. Night Revelry (Yap 1984) 2:01
33. Ulithi Sailing Chant (Yap 1984) 0:53
34. Chants & Dances Of Yap (Yap 1984) 5:30
35. "Wul" Bird (Palau 1984) 0:58
36. Palauan Chant (Palau 1984) 1:54
37. Birds Of Helen Reef (Palau 1984) 1:03

With 'Spirit Of Polynesia' (Vol. 1) and 'Spirit Of Melanesia' (Vol. 3) creates 'Pacific Trilogy'.

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