Here is a super wah wah groovy and funky reggae album by Dillinger on a small London label. Features bad boy cover version of 'Take Five'. The entire album has murder reggae rhythms.
Beautiful cover on this classic roots DJ album. Dillinger in fine style, riding versions to Johnnie Clarke's best work with Bunny Lee produced Aggrovators & Revolutionaries dubs mixed by King Tubby and Prince Jammy. Original 70s UK press.
Lester Bullocks has come a long way from the days he began recording for Upsetter as the Young Dillinger, since 1972 he's made records for nearly every producer in Kingston, through the years he built his popularity with tunes like 'Ensome City Skank' Crashie First Socialist, Jah Jah Dub, then scoring with C.B. 200. for Channel One. CB200 is a celebration of the joys of spending time dallying round town on motorbike, the ranking youth, sharp dressed, moving fast, chatting up the daughters or ''sat upon the veranda smoking herb'' Since then Dillinger never looked back he's just come on with hit after hit. This set was voiced at King Tubby's studio in May for producer Bunny Lee. I was lucky enough to be at Tubb's on one of the nights, Bunny arrived in his rather beat up yanky car with Dillinger, Trinity and Jah Stitch, ready for an all night session Dillinger entered looking dapper in a blue track suit with a pair of shoes tied by the laces slung round his neck, Dillinger greeted Jammy who looked up and remarked on whether or not the footwear was new, Dillinger sharp as a ratchet blade replied, ''Yeh man, me got me new shoes and the talking blues'' ~ Dave Hendley : Blues And Soul
+ Dub versions:
1. African World Wide 7:06
2. Truth And Rights 6:16
3. Don't Take Another Man's Life 5:42
4. Trial And Croses 5:52
5. Jah Love 8:30
6. Mind your Own Business 4:55
''Would social media be around in their times....Trio Madjesi would be the band.'' -Alex Murando
Trio Madjesi was for a few years the hottest act in Zaire of the early 1970s. Madjesi, a composition of Mario Matadidi Mabele, Loko Massengo "Djeskain" and Saak "Sinatra" Sakoul, the three prominent members of the band, made a joyful mix of Zairean music and soul music in the style of the then so popular James Brown. Their costumes and appearance were James Brown-inspired and their lyrics and overall approach full of humour. Their song « Sex Madjesi », on the album « Trio Madjesi volume 1 » renamed in « Sosoliso na Sosoliso », is an excellent example of their style, with that rolling rhythm lead by the guitars, with James Brown inspired licks. The individual members of the trio had earned their fame in other bands. Marcel Loko Massengo's career began in Jamel National, and continued through Négro Succès, Vox Africa and Orchestre Vévé. The other two members, Mario Mabele and Saak Sakoul (also written as Saak Saakul) equally left Orchestre Vévé to form Trio Madjesi. After the first years of success throughout Africa, their fame faded. There were some attempts to continue the saga, but without great success. Between 1978 and 1980, Loko Massengo was part of a trio Les Trois Frères, together with Youlou Mabiala and Boyibanda. After departure of Mabiala, he made an album with Boyibanda « Michel Boyibanda & Loko Massengo avec L'International Orchestre Rumbaya ». In recent years, Djeskain has participated in the rumba revival band Kékélé. Trio Madjesi's song « 8me round » about a match of boxing legend Mohammed Ali in Kinshasa can be found on the compilation CD « Hits & Misses-Muhammad Ali And The Ultimate Sound », issued by Trikont in 2003.
Matadidi Mário Buana Kitoko was born on Maquela do Zombo, in the Uíje province, near the border with DR Congo (then the Belgian Congo). When he was a child his parents went north, to Kinshasa, leaving the Portuguese-ruled Angola. He witnessed Congo’s independence and was soon trying his luck on a thriving music scene.
First with O.D. Jazz and then, spectacularly, with Vercky’s Orchestre Vévé, he made a name for himself. Finally, in 1972, Vévé’s disgruntled front-line trio of singers (Matadidi ‘Mario’ Mabele, as he was then called, Loko ‘Djeskain’ Massengo and Bonghat ‘Max Sinatra’ Tshekabu) formed what was arguably the year’s hottest band, Trio Madjesi.
Songs like ‘Madjesi’, ‘Sosoliso na Sosoliso’, ‘Longoma’, ‘Photo Madjesi’ and ‘Zanga Zanga’ catapulted the trio into selling, according to Gary Stewart’s book “Rumba on the River”, over 65.000 copies of its first records. After a couple of years as one of the country’s leading bands, the trio announced that it had signed a contract to play at the Olympia, in Paris. But UMUZA (Union des Musiciens Zaïrois), run by Franco, suspended the trio’s activities for twelve months, following an allegation of financial fraud, that proved impossible to bear. Disappointed and unable to work, Matatidi Mário, at 34, decided to leave the Congo and move back to Angola.
As Trio Madjesi’s records had been released in Luanda, by Rebita, Mário, although he couldn’t speak Portuguese, was able to get involved in the local music scene. In 1976 he formed a band – later to be known as Inter Palanca. With Diana, Sexito Pop and Mustang as backing-singers, Timex (rhythm guitar), Teddy (solo guitar), Mogue (bass), Mick (drums), Domé and Sassa (trumpet), André (trombone), Franco (sax) and Kinito (percussion), some of whom summoned from Kinshasa, the newly appointed Matadidi Mário Buana Kitoko and his Orchestra was ready to perform.
And what a debut: in Luanda’s Pavilhão da Cidadela Desportiva, on the very first anniversary of Angola’s Proclamation of Independence, on November 11th, Matadidi electrified the audience with an exuberant stage presence and a series of dance moves lifted from James Brown’s repertoire, singing in lingala (Congo’s lingua franca) and kikongo (the idiom learned from his parents) and dedicating ‘Volta Camarada’ to Angola’s first president, Agostinho Neto, and the FAPLA (the Popular Armed Forces for the Liberation of Angola, MPLA’s military wing).
The track, featured above, was immediately issued by CDA (Companhia de Discos de Angola) with ref# NCS-2008, and sounds like a classic Congolese song of the period, with its sweet vocal harmonies, the solo guitar carrying the second melody, the funky bass line, the seben (instrumental break), the rhythm changes, the brass responses… and the chorus goes: “thank you, thank you Agostinho Neto, thank you Fapla. On November 11th, 1975, Angola was free”!
Over the years Matadidi Mário became a household name in Angola. He toured, ran a nightclub (Kussunguila) and had significant radio airplay. But with the civil war escalating, like so many singers and performers (and hundreds of thousands of civilians), Mário left the country in 1990, moving to France, where he recorded three albums. In 2005 he again returned to his homeland. Just last year he released “Masikilo”. -angola45
1. Camarade Ekufaka Te 5:42
2. Feza 5:23
3. Longoma Olive 5:48
4. Zanga Zanga 5:53
5. Obosani Ba Voyages 6:04
6. A Bas Les Song-Bong 6:11
7. Mimi Lanunze 5:43
8. Massengo Nalingi Yo 5:33
9. Nalingi Tobalana 5:40
10. Butteur 5:42
11. Mopepe Ya Mbula 5:59
12. Untitled 5:44
Drawn from the vaults of the Khoury's label and its Lyric Records subsidiary, the 26 sides here date from the late 1940's and early 1950's. This is some of the best documentation available of what was a thriving music scene, spawned by the absence of younger players during the mid-1940's (they were off fighting the war), leaving the field to older musicians, who played Cajun music and found an audience in local clubs and an outlet in these two labels. Nathan Abshire's 1949 hit "Pinegrove Blues" got the ball rolling, and all of the 26 sides here (including Abshire's "Crying Pinegrove Blues") were spawned from that beginning. The sides here, in addition to Abshire's "Crying Pinegrove Blues," include various waltzes, stomps and blues laments by the Texas Melody Boys, Harry Choates ("Valse de Lake Charles," "Jolie Blon's Gone"), Floyd LeBlanc, Elise Deshotel with Dewey Balfa (his first four records), Lawrence Walker (his five earliest sides), and Shuk Richard and Marie Falcon. The focus may be history, but sound is also astonishingly good, incidentally. -Allmusic Review by Bruce Eder
1. Nathan Abshire - Crying Pinegrove Blues 2:48
2. Nathan Abshire - Chere Te Mon 2:38
3. Lawrence Walker - Mamou Two-Step 3:03
4. Lawrence Walker - Country Waltz 3:00
5. The Texas Melody Boys - Old Time Waltz 2:08
6. The Texas Melody Boys - Ain't No More 1:52
7. Harry Choates - Valse De Lake Charles 2:49
8. Harry Choates - Jolie Blon's Gone 2:54
9. Floyd LeBlanc - Orphan Waltz 2:51
10. Floyd LeBlanc - Louisiana Stomp 2:45
11. Lawrence Walker - Tu Le Du Po La Mam 2:48
12. Lawrence Walker - Ton Papa Ta Mama Ma Sta Da All 2:44
13. Lawrence Walker - Evangeline Waltz 3:05
14. Lawrence Walker - Reno Waltz 2:50
15. Lawrence Walker - Boscoe Stomp 3:13
16. The Musical Four Plus One - Tran La Ezy 2:26
17. Vincent & Cagley - Lawtell Two-Step 2:29
18. Elise Deshotel With Dewey Balfa - La Valse De Don Baurche 4:11
19. Elise Deshotel With Dewey Balfa - Le Two-Step De Ville-Platte 2:52
20. Elise Deshotel With Dewey Balfa - La Valse De Courage 3:00
21. Elise Deshotel With Dewey Balfa - La Valse De Tamper Tate 3:04
22. Shuk Richard & Marie Falcon - Le Cote Farouche De La Vic 2:42
23. Shuk Richard & Marie Falcon - Jolie Brun 2:47
24. Shuk Richard & Marie Falcon - Madame Entelle Two-Step 2:57
25. Lawrence Walker - Waltz Of Regret 2:24
26. Lawrence Walker - Wandering Aces Special 2:28
"The Ari sedentary farmers of animist tradition, dwell n the highlands of the north-western reaches of Ethiopia. This region is a rich mosaic of many ethnic groups, the Ari being one of the largest. Ari territory divides into nine tribal states each with its own political, economic and religious organization. The Ari treat the human voice as a veritable instrument: exploring its entire acoustic range by varying registers, timbres and vowel resonance; their grand-scale polyphonies are highly sophisticated, yet not without elements of spontaneity and surprise."
The Ari are highland farmers from the northwest corner of Ethiopia, and their community songs are simply remarkable. Making use of the full range of possibilities in the human voice by varying registers, timbres, and vowel resonance, they weave two or more countermelodies into grand polyphonies that are startling in their intricate, endlessly unfolding patterns. Occasionally accompanied by handclaps, tambourines, zithers, or flutes, it is difficult to not think of tape loops or synthesizers while listening to these 20 tracks, but it is human voices making this joyous, eerie music. The use of flutes here is also interesting, since generally there are two flutes moving in staggered melodies against and across each other, at times managing to sound somewhat like a wheezing calliope. Scholars and ethnomusicologists will undoubtedly get the greatest use from this disc, but it is stirring and strange enough to intrigue the casual listener as well. -AllMusic Review by Steve Leggett
With tracks recorded in 1967, 1968, 1970, and 1974, this compilation presents a chronological mini-panorama of the changes within the Congo/Zaire music world at a critical juncture. These are more James Brown acolytes, and it's quite probably the best single volume in this series of compilations chronicling the major and minor bands of the golden age of Zaire/Congo music.
Trio Madjesi de Sosoliso's flash costumes and stage shows made them popular with the youth crew, but the music's there to back it off. Active guitars start circle riffing with prominent horn chip-ins on "Massango," but wear a little thin on "Madjesi." "Butteur" bounces back with guitars churning out a strong groove and sax playing off the backing voices before the lead vocal takes over. It's smooth and generates momentum, right through the lead whistling and then back to braying saxes and driving guitars. The JB influence is clear on "Coup Franc" as very strong, staccato horn riffs over smooth unison vocals ride the guitar melodies. A single horn comes in with squawks and honks before the whole section gives rowdy, majestic support. The underlying groove gets close to a JB prototype with picked notes and rhythm chicken scratches in the guitar and a looping, upper register bass. Good start, but Negro Success is even better, maybe the single most impressive of the major minor bands. Snappy horns, guitars ringing a bell, stop-on-a-dime arrangements, clear sound and Franco's younger brother, Sigon Bavon-Bavon, as charismatic frontman was the group recipe. All those elements come into play on "Mokili," even if hints at a "La Bamba" groove for "Lucie" don't go anywhere. "Etabe" works up serious excitement working with loud guitar riffing front and center while a braying sax dodges in and out, and "Maseke" ups the intensity/energy level another notch. After that, Kwamy and Les Bantous de Brazza sound so old-school smooth they tend to slip right on by, even with the jazz guitar touches and horns ending "Zala," or the bell-like guitar in "Tomeseni." Orchestre Veve enters with horns and force, not surprising since leader Verckys was the Zaire/Congo version of King Curtis with Franco. "Ekwile Ferros" is loud and rowdy with intricate guitar licks rising up to resolve in a series of exchanges between guitars, horns, and the vocal tag team. The guitars dominate "Nabwaki Nsoi" at first, but Verckys' very extroverted solo whoops and provides even more spills and thrills than the Zaire/Congo sax solo norm he created. This one's a keeper, folks. The groups are important major minor bands historically, and more importantly, the performances are strong, varied, and very enjoyable. -AllMusic Review by Don Snowden
1. Trio Madjesi - Massango Nalingi Yo 5:31
2. Trio Madjesi - Madjesi 6:26
3. Trio Madjesi - Butteur 5:51
4. Trio Madjesi - Coup Franc 6:10
5. Negro Succes - Mokili Ebeta Nga Fimbo 5:31
6. Negro Succes - Lucie Tozongana 4:16
7. Negro Succes - Etabe Ya Mofude 4:51
8. Negro Succes - Maseke Ya Meme 6:13
9. Kwamy & Les Bantous de Brazza - Tomeseni Mingi Yaka 4:39
10. Kwamy & Les Bantous de Brazza - Zala Na Place Na Nga 4:36
11. Veve - Ekwile Ferros 4:17
12. Veve - Nabwaki Nsoyi 5:01
The late Winston Riley formed the Techniques in 1962 and remained a member of the group throughout their career. Regarded as one of the finest harmony groups in the music's history, the Techniques included at one time or another such great singers as Slim Smith, Pat Kelly, Lloyd Parks, Bruce Ruffin, Jackie Parris, Tyrone Evans and Dave Barker. The group recorded such classics as You Don't Care, Queen Majesty and Love Is Not A Gamble for Duke Reid before Riley decided to start producing himself. This album collects his productions featuring the group, mainly featuring Pat Kelly on lead vocals; What Am I To Do, Man Of My Word, Time Has Come, as well as Dave Barker's solo gem Your Love Is A Game, two tracks from The Shades and three from The Madlads.
Winston Riley started his production career as a singer with an enviable track record, having formed the Techniques in 1962 and hitting the top of the charts two years later with the splendid 'Little Did You Know' for Duke Reid's esteemed Treasure Isle label. When the frantic ska beat slowed down and turned into rocksteady Winston remained the only permanent component of the Techniques, arguably Jamaica's finest vocal group.
As the beat changed yet again from rock steady to the faster reggae format, Winston's thoughts turned to production, and he decided to create his own 'Techniques' label. A serious man with a serious work ethic, the quality of his music was apparent from the start as he released hit after hit, producing and singing as part of the different combinations of singers and vocal groups that he worked with.
In 1970 he produced his biggest ever hit 'Double Barrel', a ground breaking track that went on to be the biggest reggae track of 1971, reaching the very top of the UK national pop charts in May, and peaking at number 22 in the US Billboard charts in August.
After this pop success Winston Riley continued working as he always had done, producing top quality reggae tracks with a host of Jamaica's finest singers and musicians. After opening his shop in Chancery Lane, he continued on his quest for the best throughout the 70's, 80's, 90's and into the 21st century, never failing to bring his decades of experience and peerless production skills to bear on whatever contemporary music he was producing.
Winston Riley was at the forefront of the Jamaican music business for over forty years, an authentic reggae polymath who had embraced the roles of singer, songwriter, arranger and producer. He had been making plans for a new studio and museum in his Orange Street record shop right up to his death in 2012. He was truly one of Jamaica's hardest working and most consistent producers, and these two albums represent only a very small part of his huge musical legacy.
1. Dave Barker - Your Love Is A Game 2:25
2. The Mad Lads - So Afraid 2:26
3. The Techniques - I Feel Alive Again 2:18
4. The Techniques - Heart Of A Man 2:06
5. The Techniques - What Am I To Do 2:24
6. The Techniques -where Were You 2:37
7. The Techniques - The Reason Why 2:38
8. The Shades - Never Gonna Give You Up 2:08
9. The Techniques - Just One Smile 2:36
10. The Techniques - Man Of My World 2:12
11. The Mad Lads - Mother Nature 2:16
12. The Mad Lads - I Never Know 2:21
13. The Techniques You Are My Everything 3:09
14. The Techniques - Time Has Come 1:58
15. The Shades - She's Gonna Marry Me 2:13
1977 Nigerian afrobeat with a synthesized twist
SJOB Movement's Friendship Train was the second LP by the group and one which saw the group rise to new heights. It's a masterpiece of African music with it's fluid afro beat grooves and spaced out Moog synthesizer sounds. Here is an excerpt from the liner notes written and researched by Uchenna Ikonne: "Prince Bola Agbana might hardly be the most immediately recognizable name in the constellation of Nigerian music stars, but for a significant portion of the last half-century he labored in the shadows, dutifully serving as one of the key movers in its development: An in-demand session musician. An early and respected exponent of funk. A catalyst in the retrofit of juju into a modern pop genre. Most of all, though, he is recognized as the founder, leader, drummer and principal vocalist of the SJOB Movement. SJOB: Sam, Johnnie, Ottah, Bola. For a moment in the mid-1970s, they were le dernier cri in modern Nigerian music, representing the next step in the evolution of afro rhythms, and a new paradigm for the band economy. Their first album, 1976's A Move in the Right Direction, was a minor sensation and was swiftly followed by Friendship Train in 1977. Then it appeared that the movement stopped moving, and SJOB disappeared from the scene.''
1. Friendship Train 6:13
2. Love Affair 6:52
3. What Could It Be? 3:34
4. Odiara 5:56
5. Let's Do It 4:56
7. Love Affair (CD only bonus track : Remixed by the Sol Power All-Stars from Washington DC) 5:59
His final album as ‘leader’ recorded in Sweden. Originally intended to showcase the proficiency of his drum students but leaving us with a masterpiece. Total classic album laden with full on funky latin bangers. Massive!
The final release of conga master Sabu Martinez is an out-in-the-psychedelic-ozone masterpiece. Featuring a politicized Martinez reciting poetry, his own manically exotic percussion ensemble, and a slew of reeds, woodwinds, and brass, this is a heady brew of poetry expressing Latino and indigenous pride, political indictments against the white man, and killer Afro-Cuban jazz. Think of Archie Shepp's Attica Blues or Abbey Lincoln and Max Roach's Freedom Now Suite done by Chano Pozo and you are getting the idea. The layers and layers of congas and djembe drums, the wailing saxophones à la Coltrane and Pharoah Sanders, and swirling flutes played as if they were Eric Dolphy or Prince Lasha, hypnotically elocuting Martinez's poetic recitations -- after he's finished speaking. The title track is the best example of this, though it is a cut without poetry at the top. There's a mesmerizing rhythm that creates a kind of speech between the drums. The saxophones -- and I have no ideas who is playing them because this company in Italy that issued this provides no credits -- act as singers punching into the stratosphere with the cry of birds. Next, in "All Camels Hump," to a frenetic polyrhythmic orchestra of drums -- some heavily reverbed -- a pair of flutes play blues licks back and forth until they are drowned out by electronically distorted percussion. From the camels we move to the "Hotel Alyssa-Souisse, Tunisia." Here a drum kit and a choir of congas go to work as a saxophonist plays alternating lines from R&B records and Sonny Rollins solos! It's a mind-bending experience to think that someone heard music like this in his head and then went out and made it. This record is essential for any fan of Latin jazz, Vanguard jazz, Cuban music, or just plain sound. This guy went out riding the crest of a creative wave of pure genius. -AllMusic Review by Thom Jurek
Vinyl Rip by Euripides
A1 Martin Cohen Loves Latin Percussion 3:01
A2 Meapestaculo 2:12
A3 Wounded Knee 2:07
A4 Afro Temple 7:06
A5 All Camels Hump 2:54
B1 Hotel Alyssa-Sousse, Tunisia 6:06
B2 Para Ti, Tito Rodriguez 4:44
B3 My Son Johnny And Me 1:56
B4 My Christina 5:02
A towering figure in folk and world music, Alan Lomax is best known for collecting the sounds of everyday people singing the songs of their native lands. This volume is a sampler that just scratches the surface of a massive re-issue project that makes all of Lomax's archival material available on compact disc--the broadsides and ballads, work chants, and dances Lomax recorded on journeys through America, Europe, and the West Indies. The selection, of course, is as varied as his library--Irish reels, Delta blues, and Caribbean calypso as well as songs sung, literally, by fisherman, preachers, and chain-gang prisoners. Be warned, this insightful collection may well start you on a long musical journey of your own. -Michael Ruby
Each of the major areas of music that Alan Lomax researched is documented on the very, very large Alan Lomax Collection series on Rounder. This sampler album has a short introduction to Lomax's philosophy as he conveyed it to Charles Kuralt before his death. From there, the collection moves into a quartet of tracks from the Southern Journey years, with some basic folk songs as well as the then-undiscovered Bessie Jones from the Georgia Sea Islands and the rather rare sacred harp singing style. One track is provided as an example of Prison Songs -- one of the first projects undertaken by Lomax and his father. Five more come from The Caribbean Collection (primarily in Trinidad), hitting upon everything from straightforward calypso to East Indian bhajans. Another five tracks hailing from the time in Great Britain and its territories follow, with the singing in Scots and Gaelic being some of the last remaining examples at the time, and starting the folk revolution in Scotland, Ireland, and England to a degree. A quartet of tracks from Spain follow, featuring more than the well-known flamenco, and they are followed by a clump of tracks from his Italian journey, showcasing a very wide range of music with diverse and isolated cultural influences. Another four tracks come from the World Library series that Lomax actually didn't record, but spearheaded the creation of nonetheless. Here, there's a Romanian doina, a bit of gamelan, a Japanese folk song, and an Iroquois dance. From here, the album uses the Iroquois as a point of return to the American South, with Lomax's attempt to revive the traditions fed by the Mississippi River basin that were in a rut and fading in the late '70s. Four pieces come from an upcoming series on Rounder featuring some of the larger names in folk music who were found by Lomax, and the final track comes from Lomax's own ballad opera composition, "The Martins and the Coys," a piece of WWII propaganda featuring his friend Woody Guthrie. With the vast breadth of material covered and touched by Alan Lomax in his long career, it's not surprising that Rounder is able to produce over 100 albums of his material. What is surprising is that they're able to produce a single album standing as a basic look at all of the work. As such, this album does a good job of giving a taste of the various forms and cultures of music that Lomax recorded, and gives the listener a good chance to decide which series to focus on more heavily as desired. -AllMusic Review by Adam Greenberg
1. Alan Lomax & Charles Kuralt - Interview 0:25
2. Ervin Webb - I'm Going Home 2:10
3. Spencer Moore - The Girl I Left Behind 2:51
4. Bessie Jones - The Titanic 2:23
5. Alabama Sacred Harp Convention - Sherburne 1:44 From Prison Songs
6. 22 - Early In The Mornin' 2:07 From The Caribbean Collection
7. Unknown Artist - Roll, Roll, Roll And Go 1:18
8. Unknown Artist - Luce-O, Luce Mauvais 1:47
9. Cyprus Smith - Sambo Ceaser 1:41
10. Growling Tiger & Lord Airey - War 1:59
11. Ram Gopaul - Religious Bhajan 1:44 From The English, Scottish + Irish Recordings
12. Annie Nicholson - The Mulad, The Mulad 1:15
13. Seamus Ennis - As I Roved Out 1:56
14. Flora McNeill - The Sister's Lament 1:26
15. Ewan MacColl - The Four Loom Weaver 1:36
16. Bob Copper & Rob Copper - The Jovial Tradesman 1:41 From The Spanish Collection
17. Jesus Ordones Orchestra - Jota Manchenga 2:38
18. Inez Munoz - Fandango De Comares 2:04
19. Unknown Artist - Saeta 2:20
20. Campanilleros de Bormujo - Pastores De Bormujo 1:36 From The Italian Collection
21. Unknown Artist - La Partenza 2:39
22. Pingitore Family - O Giglio E Beni Constrastatu 1:08
23. Eugenio Pila - Stornello 1:45
24. Domenico Lanza - Canto Di Carrettiere 1:43
25. Aristide Pasquale - Ballo Del Tamburo 1:52 From The Columbia World Library
26. Mari Lataretu - Ma Uitai Spre Rasarit 2:25
27. Unknown Artist - Esashi Oiwake 1:15
28. The Ubud Gamelan - Gender Wayang 1:16
29. George Buck - Rain Dance 0:31 From Deep River Of Song
30. Sid Hemphill - John Henry 2:23
31. Sid Hemphill - Devil's Dream 1:03
32. S.C. Ditch Diggers - Ten Pound Hammer 1:17
33. Cleveland Benoit - Malherureuse Negre 1:29 From Portraits
34. Jeannie Robertson - My Son David 2:44
35. Hobart Smith - Hawkins County Jail 2:38
36. Fred McDowell - 61 Highway 3:06
37. Son House - Low Down Dirty Blues 2:22 From The Ballad Operas
38. Woody Guthrie - Bound To Lose 1:34
The scope of Alan Lomax’s protean and profoundly influential life’s work grants him the designations folklorist, musicologist, oral historian, photographer, filmmaker, recording and concert producer, anthropologist, archivist, activist, and author. But even this litany barely covers Lomax’s pioneering documentation of music born of pain and injustice, his crossing racial lines in the segregated South to collect African American songs, and his bringing folk music into the mainstream. Szwed, a biographer of Miles Davis and professor of music and jazz studies at Columbia University, gamely charts Lomax’s itinerant, messianic, world-changing endeavors, beginning with his start as his folk-music-collecting father’s assistant and on to his myriad inventive and demanding ethnomusicology projects, his barely surviving on grants and Library of Congress stipends, his run-ins with the FBI and embroilment in controversies, and his continual self-reinvention. Here are the full stories of Lomax’s pivotal relationships with Zora Neale Hurston, Lead Belly, Jelly Roll Morton, Pete Seeger, and Margaret Mead. Factually tireless and fluently analytical, Szwed gamely corrals a great river of events, efforts, and discoveries into a straight-ahead portrait of an intrepid, culture-defining artist and humanist. Driven by a voracious hunger for life and unshakable faith in art, Lomax forever sought the “flame of beauty.” --Donna Seaman --This text refers to an out of print or unavailable edition of this title.
''I have and can rip the complete 1964 Waikiki Battle of the Bands if you're interested. The main difference is that it includes a number of Beatles covers performed more enthusiastically than competently. The vinyl shows its age and if more crackly than I'd like, but this is the best I can do with Audactity. Hope you can enjoy.'' -Xtm
The second of the Waikiki Surf Battle of the Bands series features more ultra rare stuff. The whole set appears to be from the 1964 battle, and was recorded ambiently at the Waikiki Shell. Several vocal are included on this volume, including the Raiders' "Twist and Shout," the Majestics' "La Bamba," the Adventures' "Money," the Frolic Five's "Can't You See," and the Duplex's "Louie Louie."
THE DIMENSIONS "Pressure"
The Pyramids' "Pressure" gets reverent treatment from the Dimensions. Aside from a heavy handed ultra reverbed sound, the arrangement is true to the single. The intensity of the guitars gives it a lot more power than the original.
Surf Instrumental Mono
THE IMPACTS "Banzai Wipe Out"
Steve Douglas' "Banzai Washout," originally cut by his studio project band the Catalinas, gets amped up with big fire and deep throated reverb. This is quite close to the Douglas take in attack and tone, as opposed to the more restrained Dick Dale take. Quite aggressive and cool.
Surf Instrumental Mono
THE STARLIGHTERS "Cruel Sea"
The Dakotas' surf B-side is well played and presented the way the Ventures cut it. Nothing special.
Surf Instrumental Mono
THE CHECKMATES "Last Night"
The Mar-Keys' "Last Night" is handled in an slightly disturbed way, with an odd restructuring for surf adaptation. Pretty interesting.
Surf Instrumental Mono
THE SENSATIONS "Walk Don't Run '64 / Move It"
Just one verse of the Ventures' "Walk Don't Run '64" introduces a fairly dry and interesting version of the Chantays' strange tune "Move It." Interesting and odd too.
Surf Instrumental Mono
THE ROYAL MALADS "Journey To The Stars"
"Journey To The Stars" is treated like a strait cover, and is well done. Nothing new here, except the delivery is a bit tuffer and more vibrant than the Ventures' original. The organ part is carried via double picked guitar duet. Pretty cool.
Surf Instrumental Mono
THE INFASIONS "War Of The Satellites"
The Ventures' "War Of The Satellites" is played straight, right down to the silliness of the embellishing notes. It is more powerful, but still not really interesting.
Surf Instrumental Mono
THE RIVALS "Penetration"
The Rivals arranged this based on the Ventures' version, even using echo instead of reverb. It is less silly than theirs, but also less interesting than the Pyramids' original single.
Surf Instrumental Mono
THE LEPRICONS "Surf Jam"
An unlikely name for a Hawaiian surf band (or any other surf band for that matter), but here they are. The Lepricons' take on the Beach Boys' "Surf Jam" is less interesting than the original, but that's mostly because the performance is kinda funky.
Surf Instrumental Mono
THE ESCORTS "Wipe-Out Stroke"
"Wipe-Out Stroke" is a two-part song binding the Beach Boys' "Stoked" and the Surfaris' "Wipe Out" together. While both are real basic riff rockers, the blend seems to provide more interest. The low growly lead helps too.
Surf Instrumental Mono
THE ARCADES "Walkin' With Pluto"
The Ventures' "Walkin' With Pluto" is moderately interesting under this primitive surf treatment. Nice guitar work, but a pedestrian setting.
Surf Instrumental Mono
THE THUNDERBIRDS "And I Love Her"
This is a pretty surf instro treatment of the Beatles' "And I Love Her" coupled with a cheesy horn and organ version of "A Hard Day's Night." Cool up to a point.
Surf Instrumental Mono
THE KONA CASUALS "Misirlou"
The Kona Casuals pound mightily at the Dickster's biggest hit. Powerful and amped up, this version sports great glissandoes and fine drums.
Surf Instrumental Mono
THE STATICS "Static Beat"
This is a pretty interesting track. Quite outside what you'd consider trad surf from a rhythm guitar chord progression point of view, yet sporting a very cool lead riff. The chord progression approximates the Revel's "Church Key," and indeed a few bars are thrown in for the break. The Statics won second place in the 1964 battle.
Surf Instrumental Mono
THE RENEGADES "The Ward"
Chuck Berry chords and noodling does not a surf instro make, but then here are some shine double picked moments. Melody free nonsense. How they won the 1964 battle is a wonder, but then it was the Beatles' era, and they mostly did rip off Berry's chords, as did the Beach Boys, so maybe it's not so strange.
Rock Instrumental Mono
Vinyl rip by -Xtm
A1. The Raiders - Twist And Shout 1:59
A2. The Dimensions - Pressure 2:06
A3. The Impacts - Banzai Wipe Out 2:03
A4. The Majestics - La Bamba 2:44
A5. The Star Lighters - Cruel Sea 1:56
A6. The Checkmates - Last Nite 2:06
A7. The Adventurers - Money 1:58
A8. The Sensations - Walk And Run '64 / Move It 1:57
A9. The Royal Malads - Journey To The Stars 2:14
A10. The Infasions - War Of The Satellites 1:47
B1. The Frolic Five - Can't You See 2:07
B2. The Rivals - Penetration 2:13
B3. The Lepricons - Surf Jam 1:53
B4. The Escort - Wipe Out Stroke 2:06
B5. The Arcades - Walkin' With Pluto 1:42
B6. The Duplex - Louie Louie 2:07
B7. The Thunderbirds - And I Love Her 1:59
B8. The Kona Casuals - Misirlou 2:06
B9. The Statics - Static Beat 1:56
B10. The Renegades - The Ward 2:07
When most people think about Nigerian music, the first thing that comes to mind is Lagos—the country’s main commercial center, the glittering megacity that spawned Yoruba-speaking music luminaries such as Fela Kuti, King Sunny Ade, Sir Shina Peters and Wizkid. But Nigeria is a country of rich diversity, especially in its music: From the Igbo highlife and rock bands of east-central region, to the deep Edo roots rhythms from the midwest, to the keening, ornamented Fulani melodies of the north.
"But one region whose music has remained largely underexplored is the south eastern land of the Efik and Ibibio ethnic groups in Cross River and Akwa Ibom State—the region colloquially referred to as “Calabar.” A cradle of culture, this region was one of the earliest outposts of Nigerian popular music. Its primordial rhythms traveled across the Atlantic during the slave trade to provide the part of the foundation for Afro-Cuban grooves that would go on to influence the development of jazz, rock & roll, R&B and funk.
With the new Calabar-Itu Road compilation, Comb & Razor Sound presents 15 heavy tracks recorded in the decade between 1972 and 1982, spotlighting rare music from “Calabar” superstars such as Etubom Rex Williams, Cross River Nationale, Charles “Effi” Duke, The Doves and Mary Afi Usuah. The package features a magazine-style booklet containing a wealth of information about the milieu with rare photographs and illustrations. The Calabar-Itu Road is the major artery linking modern-day Cross River and Akwa Ibom States. And Calabar-Itu Road: Groovy Sounds from South Eastern Nigeria (1972-1982) will link the region’s music to the rest of the world!"
1. Isadico Dance Band Of Nigeria Led By Isaiah Dickson - Mbre Isong (Intro) 2:20
2. The Cross River Nationale - Cross River Nationale 6:04
3. The Visitors - The Visitors 4:54
4. Mansion - Akam Itoro Abasi 4:00
5. Monica IsaacAkananwan - Isong Idung 3:31
6. Emmanuel Ntia & His Eastern Star Dance Band Aba - Toope Eyon Odo 5:04
7. Sea Lions - Akwa Idim 5:04
8. Charles Duke - Suk Usan Idang (Cross River Radio Interlude) 2:14
9. Isadico Dance Band Of Nigeria Led By Isaiah Dickson - Eti Eyeneka 6:30
10. The Doves - Akan Anwan Isong Idung 3:27
11. Mary Afi Usuah & The South Eastern State Cultural Centre Band - Mma Ama Mbo 3:51
12. Sunny Risky & The Vitamin Explosion - Atak Mfat Eyen 5:03
13. Chief Inyang Henshaw & His Top Ten Aces - Eseme Ikpong 5:48
14. Etubom Rex Williams & His Nigerian Artistes - Ererimbot Afayung Oko 6:25
15. Bustic Kingsley Bassey's Anansa Engineers - Journey To Luna 9:58
Boom shot! This is for all the folks who've never heard reggae at its best. Before all the crap, and I mean CRAP came. -Andrew Carl Elliott
Junior Soul supported Toots and The Maytals a few times and in 1977 he had a hit song with the highly regarded track "Penny For Your Song", which is featured here on the 1978 Burning Sounds album release "Sings For The People." This album and its dub companion, Soul Man Dub, are issued here for the first time on CD.
1. Penny for Your Song 8:01
2. Shocking Love 6:50
3. Love Story Liberty 3:28
4. Talking Love 4:35
5. In This World 7:01
6. Grove Me 6:23
7. Three Times a Lady 3:48
8. Help Me Make It Through the Night 4:39
9. Penny for Your Song Dub 7:53
10. Shocking Love Dub 6:50
11. In This World Dub 6:57
12. Help Me Make It Through the Night Dub 6:38
13. Love Story Liberty Dub 6:55
14. Talking Love Dub 7:08
15. Three Times a Lady Dub 4:35
16. Grove Me Dub 7:29
A singer from Zimbabwe, Stella Chiweshe is one of the few women who has mastered the mbira, an African thumb piano traditionally played by men. In Zimbabwe, the instrument is used in tribal spiritual music, and interestingly, it has also been embraced by some American jazz musicians. On Ambuya?, Chiweshe is joined by fellow mbira player Virginia Mkwesha and marimba players Samson Mirazi and Leonard Ngwena, as well as members of 3 Mustaphas 3 (an adventurous Western unit that has fused a wide variety of ethnic styles). Though this absorbing music shows her love of Zimbabwean traditions, Chiweshe isn't afraid of experimentation. Combining the mbira with marimbas, in fact, is unorthodox. Chiweshe, a passionate vocalist with a rough-edged vocal style, has commanded an appreciative following in Zimbabwe (formerly Rhodesia), and Ambuya? points to the fact that she should be heard by Western ears as well. -AllMusic Review by Alex Henderson
The Mbira Queen of Zimbabwe meets John Peel!
On his 20 January 1988 show, Peel declared Stella Chiweshe's Ambuya? LP to be his record of the week. Two months later, she did the first of two sessions for his show. The cover of Stella's Ndizvozvo 12" single, released the same year, featured the sub-title 'The Mbira Queen Of Zimbabwe Meets John Peel'. In reality, the two had no direct contact in the late 80s, as Peel told his listeners on his 15 July 1989 (BFBS) show:
"This is from Stella Chiweshe....and it says on the front of the sleeve, "The Mbira queen of Zimbabwe meets John Peel." In fact, we've never actually met, but there is something in the notes to this song which makes me believe that this is perhaps the reference to me. It's a song called Kachembere, and it says, "This is an old favourite story about an old bullfrog which was always seen early in the mornings searching for food with its children. After having enough of it, it would climb into the mountains, lazily yawning, scratching and breaking wind." Well, that does sound a little like me, I have to admit."
The Ndizvozvo 12" consisted of her 1st Peel session, hence the cover sub-title.
"Sarura Wako" is one of her classic titles that are now played again by the DJs for that crossover post-punk / disco / Afro hipster crowd in the London clubs and beyond.
Highly recommended set of electrified Syrian 'dabke' dance cuts, culled by Mark Gergis from cassettes and discs from Damascus, Daraa & Suweida between 1997-2010. The dabke material that circulates is recorded live at weddings and parties across the Levantine Middle East, where the traditional ceremonial music has been embellished with electronic beats and amplification technology, resulting in the amazing dancefloor intensity captured on this compilation.
Amazing selection of intense and driving Dabke - the style popularised by Omar Souleyman Sham Palace, the label owned and operated by Sublime Frequencies associate Mark Gergis, presents an amazing selection of intense and driving Dabke - the regional folk dance style popularised to some extent in the west by Omar Souleyman. Not limited to Souleyman's native Syria, this selection spans the Houran region "...a swathe of south Syria and north western Jordan, beginning just below Damascus, and encompassing the Syrian cities of Daraa, Suweida, Bosra, and the Golan Heights. Its populations include Syrians, Bedouin, Druze, Palestinians and Jordanians." It takes in seven stunning examples culled from cassettes and discs found in the cities of Daraa, Suweida, and Damascus, Syria between 1997-2010, predominantly using native microtonal keyboards to play both the rhythms and sampled mejwiz tones - that distinctively shrill, droning and hypnotic bamboo flute cadence - together with vocals drenched in echo and reverb to emphasise their impassioned emotional messages. They range from Ahmad Al Kosem's incendiary warning shot 'Love Is Not A Joke' to the EuroTechno-like arpeggios and pitched childrens voices on 'Mili Alay' by Mohamed Al Ali, through the steppin' torque and whooping delirium of Abu Sultan's 'Your Love Made Me Head Hurt' to an incredibly warped and near-psychedelic wedding celebration called 'Afrah Houran'. For exotic-minded DJs, open-minded parties and clued-up dancers, this is a must-have record!
1. Ahmad Al Kosem - Love Is Not A Joke 6:37
2. Mohamed Al Ali - Mili Alay (Sway To Me) 6:33
3. Abu Sultan - Your Love Made My Head Hurt 6:59
4. Ahmad Al Kosem - Ma Dal Anouh (I Will Grieve Until I See Her Again) 5:19
5. Abu Wafsi - Deg Deg Dagdeglo 6:16
6. Obeid Al Jum'aa - Instrumental Mejwiz 3:10
7. Faraj Kadah / Ashaf Abu Leil - Afrah Houran (Houran Weddings) 7:08
This classic Guinean pop ensemble has one of the grooviest sounds I've heard, and for whatever reason, I find them completely enthralling. Part of it is the roughness and seeming incohesion of their sound -- there are several distinct elements that appear on the surface to be unlike each other -- the keening, shrill vocals; the gorgeous, perfect, echoey guitars; lastly, the driving, aggressive percussion, an unusual mix of indigenous drums and a lively snare set, all anchored by a swirly little organ. Camayenne Sofa seemed content to leave the rough edges in their music, and that suits me just fine. These guys were extremely talented performers who didn't succumb to the age-old temptation to "perfect" every little bit of their music, and thus these discs are more energetic and compelling than the vast majority of African pop albums you're likely to hear. Great stuff. Highly recommended! -DJ Joe Sixpack
After taking listeners on a funky, dance floor fueled journey through the West Indies with Disc'o'Lypso and their West Indies Funk compilations, the San Juan Puerto Rico based Trans Air Records marks their triumphant return with a softer side of island offerings. Sail away with us on West Indies Soul as the warm sounds and breezy rhythms of the islands come to life on sixteen choice cuts from a selection of the region's top talent. Standouts include cover versions of Dyke & The Blazers -- 'Funky Broadway' and Lou Rawl's venerable 'Love Is A Hurting Thing.' These tropical ballads will melt even the coldest of hearts.
1. Mark Holder - Bring My Lover Back 2:57
2. The Guinness Casanovas - Expressway To Your Heart 2:59
3. Lians Thelwell & His Celestials - Funky Broadway 2:25
4. Lloyd Williams with Tommy Mccook & The Supersonics - Goodbye Baby 2:49
5. Winston 'Flook' Richards - Got To Have Your Love 3:30
6. Johnny Baptiste - Johnny's Dream 3:14
7. Soul Vendors - Just A Bit O' Soul 2:54
8. Richard Stoute - Love Is A Hurting Thing 3:48
9. Clarence Thompson - Never Let A Kiss Fool You 2:38
10. The Troubadours - People Get Ready 2:53
11. The Blue Notes - Sock It To Me 3:02
12. Lians Thelwell & His Celestials - Soul Boy 2:17
13. Judy Mowatt - Too Good For Me 3:16
14. Dobby Dobson - What Love Has Joined Together 3:08
15. Glenn Miller - Where Is The Love 2:47
16. Judy Mowatt - What An Experience 3:06
East Meets West! Great, classic 1970 album from sitarist Ananda Shankar featuring wicked versions of "Light My Fire" and "Jumpin' Jack Flash"!
From the liner notes:
"His Name Is Ananda. He's a young man with a sitar and a dream and his name means peace and joy. He's as Indian as the tradition in which he recieved his education as a classical musician. But he's excited about Led Zeppelin and Janis Joplin and electronic music. "
Sure, this record really isn't more than an exploitation of the crossover between psychedelic music and Eastern sounds, but that shouldn't detract anyone from listening to it in its entirety; in fact, that would be a huge mistake. The opener, the sitar- and Moog-soaked take on "Jumpin' Jack Flash," is performed perfectly, with every choice accent milked for maximum drama. Once the novelty of sitar-dosed covers of your favorite songs wears off, you really begin to notice how excellent the performances are on this record. Ananda Shankar manages to bridge the gap between kitsch and fine art on these tracks, from the opener all the way to the cover of "Light My Fire." One minute he is playing simple notes like it was taking the place of a guitar, at other times utilizing the full reign of the sitar's sound possibilities. The originals on the album follow an equally impressive path. The dreamy, hazy bliss of tracks like "Snow Flower" and "Mamata" is both meditative and slinky -- light melodies with twisted atmospherics and tweaked Moogs. The drum breaks in the gurgling "Metamorphosis" are worth the price of the album alone. For the most part, the album rarely strays from the East-meets-West formula, with the Eastern rhythms getting the short shrift and the focus relying on Western funk and pop styles getting an Eastern makeover. Not that this is bad at all, but when the track "Sagar" ends, you realize that this record could have been much more than it was. This specific track guides the listener through a space/water odyssey over the course of 13 minutes. It's a slow build that gains momentum as the music progresses and flashes of acoustic guitar help the rhythm along. The final track is a great mixture of folk guitars that takes the focus away from the sitar for once, instead incorporating vocals and a chorus that manages to lock into a repeated chant that is the unexpected highlight of the album. -Allmusic Review by Jon Pruett
1. Jumpin' Jack Flash 3:40
2. Snow Flower 2:50
3. Light My Fire 3:35
4. Mamata (Affection) 3:10
5. Metamorphosis 6:49
6. Sagar (The Ocean) 13:13
7. Dance Indra 3:49
8. Raghupati 3:28
This genrebusting 1975 album seamlessly fuses the traditional music of Ananda Shankar ’s homeland, India, with the heavy psych-funk of the West, where he’d spent a good deal of time. Featuring the dancefloor killers Streets Of Calcutta and Dancing Drums alongside a handful of mellower tracks, the original, India-only LP has long been one of the world’s most sought-after records, and is presented here complete with historical liner notes.
The name "Shankar" is most famously associated with Ravi Shankar, the grand master of contemporary Indian folk music who was very popular in the '60s due to his connection with the American music industry, despite staying away from pure pop music by maintaining his classic sitar-and-tabla-style drone ragas to express himself musically. Bengali musician Ananda Shankar was Ravi Shankar's nephew, and he also traveled to the USA, to gather inspiration from rock artists like Jimi Hendrix, among others. His 1970 self-titled debut album, a conglomeration of classic Indian folk tunes and instrumental versions of the hottest rock songs of the day clothed in a veil of sitar melodies and backed up with tabla drum grooves, was an attempt to combine the spiritual approach of his cultural origins with the light-minded blissful attitude of western psychedelic pop music -- a groovy little album. After its release, Shankar took a five-year break from recording to create his second album, reissued here. The cover tunes were replaced by all-original compositions with a lush instrumentation that features the typical sitar, tabla, and bowed string instruments such as the sarong and the sera, mixed with sounds that have a definite western origin such as rock guitars, Hammond organ, and Moog synthesizers, plus full drum kits to enhance the actual groove. Psychedelic rock, raga, fusion-jazz, and funk flow into each other quite naturally, giving birth to something fresh and exciting one might call "Bengali pop." The borders between eastern and western music dissolve. For the most part, Ananda Shankar and his Music is quite accessible, and comes with a certain slickness. Still, there is the other side of the coin, the spiritual depth that pop music often lacks. This might have been too far out for the average western mainstream fanatic back in 1975, when disco began its rule, but it is an awesome sound trip for fans of psychedelic dance music like the Incredible Bongo Band and all eastern-influenced popular rock.
1. Streets of Calcutta 4:39
2. Cyrus 2:45
3. The Lonely Rider 2:12
4. The River 3:06
5. Vidai (Parting) 2:53
6. Back Home 4:36
7. Dawn 11:47
8. Renunciation 4:24
9. Dancing Drums 5:19
"Beat Jazz" is a out-of-print 20 track compilation of cool 50s style jazzy beat numbers. Kind of Beat era recordings from spoken word, to sung poetry, to bebop, to doo-wop, to R&B, to hipster and jive....
It was released on Pesky Serpent Records in 1994.
A mainstay favorite for years, this compilation collects music inpsired by the beatnik scene. The musical interpretation of blase on the New Bangs ‘Go Go Kitty’ is worth the admission all by itself. Way out poetry readings over bop combos, drugged up beret-wearers, and finger-popping hipsters making fifties pop. Featured artist: Jack Kerouac, Jack Hammer, Slim Gaillard, Gregory Corso, The Cosmic Rays with Sun Ra, Moondog and Coleman Hawkins.
''This is one beautiful collection of beat music, spoken word and crazed goofballed lyrics. Way out there selections of many unknown beat artists at their most primitive level spewing forth undergroud sounds and styles of a bygone era. No Zane or kitch here but straight ahead songs that ooze the beat feel! This is a fantastic selection of music. For me its the beat of this genre.'' -Chuck
Beat Jazz Vol. 1
A1 Frosty & The Diamonds - Destination Mars 2:01
A2 Slim Gaillard - Travelin Blues 3:03
A3 Kenneth Rexroth - State & 32nd 2:08
A4 Coleman Hawkins - Picasso 3:14
A5 Gregory Corso - Bomb 0:38
A6 Scotty McKay - Black Cat 1:56
A7 Jack Hammer - Like 2:13
A8 Gil Melle - The Gears 3:03
A9 Doctor Bop - Satin & Velvet 2:57
A10 Anita Ellis w/ David Amram - The Crazy Daisy 1:24
B1 Bob Dorough - Dog 3:28
B2 Harvey Anderson - Monday Night @ 8pm 3:41
B3 Jack Kerouac - Cockroach 1:46
B4 The Cosmic Rays w/ Sun Ra - Dreaming 2:38
B5 Roy Glenn - Big High Song For Somebody 3:50
B6 Ada Moore - Devil 3:48
B7 Moondog - Up Broadway 2:38
B8 Woody Leafer - Drums In My Typewriter 2:38
B9 The New Bangs - Go Go Kitty 2:26
B10 Ellie Girl & 7 Beat Sulks - Let’s Make It 2:16
"Beat poetry, hip Jazz and Be-Bop with the feel of a smoky club underground club in the early '60s, make this one of the coolest compilations you'll ever hear."
Released after volume one was, as the saying goes, real real gone. Nonetheless a fingersnappin’ set of goatee growers, bent bop tunes, slang poetry & crazy cookin’ cats that’re really on the stick. They’re all here: Dexter Gordon’s rival Wardell Gray (who improvised the melody that later became Annie Ross’ ‘Twisted’), lip-flapper Babs Gonzales (who wrote the song ‘Oop Pop a Da’ for Dizzy Gillespie), Nat Cole’s slicker-n-shit guitarist Oscar Moore, psychiatry-lounge singer Katie Lee and Chicago-pianist-turned-sound-effects-freak Mel Henke.
Beat Jazz Vol. 2
A1 Buddy Collette - Jungle Pipe 4:04
A2 Kenyon Hopkins - Let Me Out 2:11
A3 Amus Moore - The Hip Men 7:21
A4 Wardell Gray - 5 Star 2:48
A5 Young Tiger - Calypso Be 2:53
A6 Babs Gonzales - Lullaby Of The Doomed 5:27
B1 Muhamed Habeebalah - Sneaking 2:58
B2 Ernie Andrews - Green Gin 2:08
B3 Oscar Moore - Kenya 5:16
B4 Early Zell - Aunt Woo-Wa 2:43
B5 Katie Lee - Sick Sounds 2:12
B6 The Johnny Lewis Trio + Millie - Snake Hips 2:26
B7 Bing Day - Mama's Place 2:13
B8 Maxwell H. Brock - Bucket Of Blood 2:52
B9 Joya Sherril - Desdemona's Lament 2:02
B10 Mel Henke - Shock Treatment 2:37
Recorded by Pete & Toshi Seeger in the winter of 1951 at two Texas prison farms, this album represents some of the oldest and most traditional work songs found among African American prison communities in the southern United States. Traditionally a participatory art form, these songs were typically sung while groups of 10-30 prisoners performed tasks such as chopping and hoeing. With origins reaching back to their West African ancestry as well as during the era of African American slavery, work songs served the purpose of alleviating the mundane nature of repetitive tasks as well as providing a forum for the song leader to keep the group together through rhythms and lyrics.
Prisoners at the Ramsey and Retrieve State Farms, Texas:
1. Let Your Hammer Ring 5:50
2. Here Rattler Here 5:22
3. Chopping in the New Ground 1:40
4. Go Down, Old Hannah 5:26
5. Mighty Bright Light 2:56
6. Grizzly Bear 4:40
7. Lost John 5:00
8. You Got to Hurry 2:04
9. I Need More Power 3:36
10. We Need Another Witness 3:39
This is one of the greatest albums of the folk era...I highly recommend that you track it down. "The land where the blues came from" doesn't begin to tell the story--this is a primer of African-American music that really hasn't been duplicated since. -Forrest Gardneron
The album was recorded, edited, and annotated by Bruce Jackson and released in 1965. It contains work songs, blues, spirituals, preaching, and toasts performed by the men of Texas’ segregated agricultural prison farm units. The songs are part of a tradition that ended when the prisons were integrated.
1. Johnny Jackson (lead) - Raise 'Em Up Higher (worksong) 2:59
2. Marshall Phillips - Don't Look So Downhearted Buddy (toast) 1:28
3. Joseph "Chinaman" Johnson (leader) - Move Along 'Gator (worksong) 3:33
4. Joseph "Chinaman" Johnson - Three Moore Brothers (Cante-fable) 5:08
5. Johnnie H. Robinson (first lead,) Eddie Ray Zachary (second lead) - Assassination Of The President (topical/gospel) 2:41
6. George White - Don't Be Uneasy (spiritual) 1:54
7. Jesse "G.I. Jazz" Hendricks (first lead,) Matt Williams (second lead) - Rattler (worksong) 5:19
8. Johnny Jackson (lead) - Hammer Ring (worksong) 1:29
9. Louis "Bacon & Porkchop" Houston - T.B. Bees (toast) 1:05
10. Mack Maze - If You See My Mother (blues) 1:38
11. Joseph "Chinaman" Johnson (lead) - Just Like A Tree Planted By The Water (worksong) 3:54
12. Houston Page (lead) - See How They Done My Lord (spiritual) 2:18
13. W.D. "Alec" Alexander - Daniel In The Lion's Den (preaching parody) 4:22
14. Virgil Asbury (lead) - Forty-Four Hammers (worksong) 4:38
Some of the earliest, rarest recordings of Portuguese-language music ever collected in one place. Similar territory to Heritage's fado collections, but with other styles such as polkas, tangos and boleros-- not just the fado. Also, the musicians include Cape Verdean expatriates and Brazilians as well as proper Portuguese artists -- a few of the Brazilian recordings even date back as far as 1908(!) Really nice, and definitely recommended! -DJ Joe Sixpack
1. S. Freire (Armandinho) & G. de Sousa - Variações sobre o fado corrido 3:02
2. Salgado do Carmo & Eugénio Cibelli - Fado popular 3:24
3. Abrew's Portuguese Instrumental Trio - Tango português 3:03
4. João de Matos & Eduardo Alves - Fado de outros tempos 2:48
5. Grupo Bahianinho - Bambino-tango 3:04
6. António Landeiro - Bolero 2:33
7. Dr Ricardo Borges de Sousa & Eduardo Alves - Variações sobre o fado corrido 2:58
8. Grupo K. Larangeira - Só para moer 3:19
9. Abrew's Portuguese Instrumental Trio - Cabo-verdiano peça nova-polka 3:03
10. Johnny Perry's Portuguese Criolo Trio - São Vicente-polka 3:09
11. João de Matos & Eduardo Alves - Variações sobre o fado Bacalhau 2:58
12. Dr Ricardo Borges de Sousa, João de Matos & Eduardo Alves - Fado espanhol e alexandrino 3:02
13. Orquestra da Notias - Cidade de Mindello-polka 3:00
14. Grupo Lulu Cavaquinho - Leonor-valsa 3:09
15. António Landeiro - Variações sobre o fado corrido em ré maior 2:40
16. Grupo Bahianinho - Destemido-tango 2:46
While many of the albums in the Zanzibar series focus on taarab music from Zanzibar, this one covers muziki wa dansi (Tanzanian dance music) from Dar Es Salaam in the late 70s and early 80s. Although a compilation album, nine of the ten songs are from two bands - Mlimini Park Orchestra and Dar International Orchestra, with one from Vijana Jazz Band. These ten songs are fantastic, rumba-based music with local influence. The band have several guitars and large horn sections, producing a great, upbeat sound. They add up to 73 minutes of great music. The liner notes provide good information about the bands and the music scene in Tanzania at that time, as well as the song lyrics in English and French. I love this album and highly recommend it to anyone interested in rumba/soukous music or East African music of the era. -islanderon
In the late 70s and early 80s, the city of Dar es-Salaam was one of the richest and most vibrating musical scenes in Africa, with some 25 to 30 professional bands performing in nightclubs and theatres. Tight dialogues between three or four guitars, horn section riffs and unfailing swing characterize muziki wa dansi (‘dance music’). It was not only the music of urban night clubbers in Dar es Salaaam, but also the sound backdrop of everyday life in the whole country, thanks to the radio broadcast of Radio Tanzania (which also functioned as the country’s sole recording institution). This anthology presents the most famous bands of that period: “Mlimani Park Orchestra”, “Dar International Orchestra” and “Vijana Jazz Band.”
1. Mlimani Park Orchestra - Visa Vimenichosha / I Am Tired Of This Story 7:53
2. Dar International Orchestre - Baba Anna / Baba Anna 6:47
3. Mlimani Park Orchestra - Kassim Amefiliska // Kassim Has Gone Bankrupt 7:47
4. Dar International Orchestre - Rufani Ya Kifo / Appeal Against Death 8:03
5. Mlimani Park Orchestra - Taxi Driver 6:22
6. Mlimani Park Orchestra - Talaka Ya Hasira / A Divorce In Anger 6:30
7. Dar International Orchestre - Uzuri Wa Asili / Natural Beauty 9:17
8. Mlimani Park Orchestra - Nawashukuru Wazazi Wangu / Thanks To My Parents 7:09
9. Vijana Jazz Band - Nilitaka Iwe Siri / I Wanted It To Be Our Secret 6:08
10. Dar International Orchestre - Mwana Acha Ujinga / Stop Behaving Like A Fool 7:06
A sweeping panorama of Romanian peasant music recorded from the 1930s through the ’50s, represented with selections from all culture areas, musical categories, and historical and regional styles. This historic collection is rich with folk masterpieces interpreted by first-rate musicians who were legendary in their villages. Newly expanded and revised. Compiled and edited by Alan Lomax.
In her careful notes on this re-issue of the landmark field recordings of Alan Lomax, ethnomusicologist Speranta Radelescu states "...everyone who visits the Constantin Brailoiu Institute of Ethnography and Folklore in Bucharest still listens to it as an introduction to the study of Romanian folk music. Local specialists still consider it one of the most enjoyable and rewarding anthologies of Romanian music." This is high praise indeed, and completely merited. This release contains music that is fast disappearing, with the encroachment of western popular music and the withering away of the old village lifestyle. In addition, there does not seem to be any "folk revival" movement afoot in Romania as there is in neighboring Hungary.
The selections are all somewhat brief. As Ms. Radelescu points out, this may be a blessing for the impatient listener, but a drawback in placing songs into accurate context. The effect however, is that a large number of tracks have been placed on a single CD, revealing a great breadth of styles. Some will sound familiar, as the various still extant tarafs of Romania are still playing some of this repertoire. Ms. Radelescu does inform us that she has made several alterations. Although the updating of spellings is welcome, she has also re-organized the compilation in what she feels is a more ethnomusicologically coherent sequence. One can't help but wonder if the original intention of the compilers has been served by this, and there is no way to know one way or the other.
An alphorn fanfare opens the CD, which is then divided into Ritual music, Dance music, Pastoral music, (divided further into Long Songs, Ballads and Epics, and Lyric songs) and then Lautari (Rural and Urban professional musicians.)
"De petrecut" from the Banat, a ritual for accompanying the deceased, with an eerie overlapping drone in the vocal, and "Cåntecul miresei" a wedding song sung by the Gypsies of Clejani (no coincidence that the Taraf de Haidouks have similar songs in their repertoire). "Braul" is a dance played with incredible nimbleness by Floreqa Netcu, who was a clerk in a cooperative store at the time. Another braul, the exciting "Braul se papte" is also a real barn burner. The possibilities of playing expressively on something as simple as a pear leaf are demonstrated by the then 29 year old Florica Mazgoi, in "De codru). Nicolae-Poantá-Husari's vocal on "Pa dealul Cerbalului" makes him a dead ringer for Geoff Moldauer; this strange comparison aside, all vocals on this CD are exceptionally powerful, with rich resonance and pleasingly regulated vibratos. In the "lautari" section of the CD, "Calusul" (made famous by cymbalom master Tony Iordache) stands out.
These are all, however, utterly random and subjective highlights. The quality of all these tracks is remarkably high, and one would be hard pressed to find one that did not lack for some sort of merit. In all, so many years later, one can still find no better introduction to the folk heritage of Romania than this one. -Michal Shapiro
Nestled in between Hungary and Serbia on its western border, and Moldova and the Black Sea on its eastern border, is the country of Romania. A Roman province beginning in about 100 AD, the country has been overrun by barbarian hordes, converted to Eastern Orthodox Christianity, occupied by Nazis, ruled by the Communists, and -- since 1989 -- on board for capitalism's bumpy ride. Reflecting Romania's mercurial history is its brilliantly eclectic musical heritage. On World Library of Folk & Primitive Music, Vol. 6: Romania a cross-section of this eclecticism of sounds is presented. Its 35 tracks offer up ritual music, dance music, pastoral music, and more. Originally recorded between 1934 and 1957 by many an ethnomusicologist working for the Archive of the Folklore Institute, Bucharest, the collection was compiled and edited by Tiberiu Alexandru, and in 1960 by Alan Lomax for Columbia Records. In its contemporary digitized form it is being re-released by Rounder. From a stentorian overture on a gargantuan Transylvanian horn, known as a tulnic, to a whimsical final cut featuring pan-piper Fanica Luca soloing over the stylized folk arrangements of the Barbu Lautaru Orchestra, each selection is played by expert musicians. The touching love ditties, animated dance tunes, epic songs, and religious melodies that round out this exceptional CD all offer portals into Romania's distant musical worlds, captured before the ubiquitous onslaught of globalization. -AllMusic Review by John Vallier
1. Semnal de Primavara Ritual Music
2. Pleaca June-Ntr-un Vanatu
3. Bate-S, Vante, Bate
4. Jocul Caprelor
5. Cantecul Cununii
7. Vaiet la Frate
8. De Petrecut
9. Cantecul Miresei Dance Music
11. Ca La Breaza
12. Ardeleana Pe Trei
14. Suita de Danturi de Jucat
15. Purtata Fetelor
16. Braul Pe Sapte Pastoral Music
17. Cand Ciobanul Si-a Pierdut Oile Doine
18. Cucule, Penele Tale
19. De Codru
20. I-Auzi, Mandra, Pitigoiul
21. Tine-Mi, Doamne, Zilele
22. Ma Uitai Spre Rasarit Ballads And Epics
23. Colo Sus Pe Munte Verde
24. Iovan Lorgovan
25. Soarele Si Luna Lyric Songs
26. Pa Dealul Cerbalului
27. Scarbit II Omu'cu Gloata
28. Hei, Mai Mandriorule
29. Marioara de la Munte
30. Trandafir de Pe Razor
31. Tis Tu Munte Lautari
34. Sa Iei Seama, Bade, Bine
Uzelli Psychedelic Anadolu is a new, stimulating and refreshing compilation of psychedelic sounds from Turkey, offering a new perspective, fresh names and undsiscovered genres. Pressed for the first time on vinyl, released on CD and digital, all the tracks were discovered in Uzelli's archives. Selected from thousands of tracks, re-mastered from mastertapes and high quality recording tapes. Radical and edgy electrified baglamas, moog and synthesizers, combined with sweet melodies and heart-breaking lyrics that will open your ears to the yet-undiscovered Anatolian soundscape.
Uzelli - one of the most important cassette label from Turkey, established in 1974, presents an exciting new story of Turkish Psychedelic Anadolu music, pushing the boundaries of time and space, stretching your perception of the genre to unexplored period of the 1980s. Diving into its huge archive, Uzelli presents the classics and previously undiscovered names of Turkish Psychedelic Anadolu music, showcasing less known but extremely exciting sub-genres. This compilation extends the history of Psychedelic Anadolu music by focusing on the period between 1975 - the high point of the vinyl culture - and 1984 - the culmination of the cassette industry. These 10 years of Turkish history were times of political chaos and were divided into two periods by the military coup in 1980. After the coup d'etat, those citizens who felt ignored, underappreciated, for whom politics had never been the most important part of their daily lives became more and more visible and were officially demanding their music in their new urban environment. Due to new political circumstances, everyday routines, culture and music changed. Rock was expanded to make a place for new musical genres that more accurately reflected people's social and economic positions, innermost feelings and moods. Folk, Taverna, Fantezi and Arabesk were most popular genres in that period. Psychedelic music of the 1970s combined hip instruments such as electrified baglama, moog and synthesizers with sweet melodies and heart-braking lyrics, and these sounds became even more radical and edgy in the 1980s.
These tracks are selected from the best psychedelic arrangements of rock, pop and folk songs. But this also represents an unique combination of personalities and characters, from giants of the Turkish Psychedelic scene like Erkin Koray, Ünol Büyükgönenç of Kardaslar, to unknown and undiscovered Kerem Güney, the ephemeral band Zor Beyler with Ayzer Danga from Mavi Isiklar and Mogollar on drums, Ali Ayhan from Urfa with his unquestionably unique voice from the folk scene, Akbaba, the extreme wedding duo. This compilation would not be as powerful if not for the inclusion of two ladies: the mysterious Elvan Sevil and Nese Alkan, accompanied by Zafer Dilek Orchestra, whose amazing voices calm down the tempo and simply melt your heart.
1. Zor Beyler - Intro 1:53
2. Zor Beyler - Gözündeki Yaşlarına 3:03
3. Erkin Koray - Öksürük 3:32
4. Kerem Güney - Sıcak Bir Sevda 3:44
5. Aşık Emrah - Bu Ellerden Göçüp 4:34
6. Elvan Sevil - Yar Senin İçin 4:52
7. Akbaba İkilisi - Şeker Oğlan 7:07
8. Ünol Büyükgönenç, Kardaşlar - Deniz Üstü Köpürür 6:19
9. Neşe Alkan - Kaçma Güzel 3:04
10. Ali Ayhan Bana - Göre Kızlar Çok 4:26
11. Metin Alkanlı - Yağmur Yağdı Kaç 3:11
Regarded amongst collectors of Anatolian rock as The Daddy of all Turkish rarities, this instrumental record from 1973 has to be heard to be believed and even then it's still Unbelievable. Is this record for real? Either these guys had timemachines or DJ Kool Herc had secret Eastern connections. If a box of original copies of this seldom-sighted album had made its way to the South Bronx in the late seventies then Mustafa Ozkent would be sharing throne space with other ultimate breaks and beats such as Incredible Bongo Band, Funky Drummer and Johnny The Fox: bringing modern record collectors' new found Turkish obsession forward by some 20 years. To say its ambiguous sleeve design is a bit misleading is an understatement. The bright green jacket depicting a PG Tips-style monkey causing havoc in the studio is not dissimilar to an '80s chimp-sploitation poster bought from Athena. Is it a comedy record? Is it a soundtrack to a wacky Turkish movie? Is it a kids' record? A handy list of hybrid music genres fails to make the picture any clearer ''Rhythm & Soul,'' ''Blues 'N Jazz,'' ''Folc'' with a ''c''... with sounds not far from what could be Kraut,Latin, or African, also. Perhaps it's safe to say that the contents of this prize album are in fact free from categorization.
Definitive Gospel from a unique and talented family
The Staples' story goes all the way back to 1915 in Winona, Mississippi, when patriarch Roebuck "Pops" Staples entered the world. A contemporary and familiar of Charley Patton's, Roebuck quickly became adept as a solo blues guitarist, entertaining at local dances and picnics. He was also drawn to the church, and by 1937 he was singing and playing guitar with the Golden Trumpets, a spiritual group based out of Drew, Mississippi. Moving to Chicago four years later, he continued playing gospel music with the Windy City's Trumpet Jubilees. A decade later Pops Staples (as he had become known) presented two of his daughters, Cleotha and Mavis, and his one son, Pervis, in front of a church audience, and the Staple Singers were born. The Staples recorded in an older, slightly archaic, deeply Southern spiritual style first for United and then for Vee-Jay. Pops and Mavis Staples shared lead vocal chores, with most records underpinned by Pops' heavily reverbed Mississippi cotton-patch guitar. In 1960 the Staples signed with Riverside, a label that specialized in jazz and folk. With Riverside and later Epic, the Staples attempted to move into the then-burgeoning white folk boom. Two Epic releases, "Why (Am I Treated So Bad)" and a cover of Stephen Stills' "For What It's Worth," briefly graced the pop charts in 1967. In 1968 the Staples signed with Memphis-based Stax. The first two albums, Soul Folk in Action and We'll Get Over, were produced by Steve Cropper and backed by Booker T. & the MG's. The Staples were now singing entirely contemporary "message" songs such as "Long Walk to D.C." and "When Will We Be Paid." In 1970 Pervis Staples left and was replaced by sister Yvonne Staples. Even more significantly, Al Bell took over production chores. Bell took them down the road to Muscle Shoals, and things got decidedly funky. Starting with "Heavy Makes You Happy (Sha-Na-Boom Boom)" and "I'll Take You There," the Staples counted 12 chart hits at Stax. When Stax encountered financial problems, Curtis Mayfield signed the Staples to his Curtom label and produced a number one hit in "Let's Do It Again." The Staples went on to continued chart success, albeit less spectacularly, with Warner, through 1979. One more album followed on 20th Century Fox in 1981. After a three-year hiatus, they signed a two-album deal with Private I and hit the R&B charts five more times, once with an unlikely cover of Talking Heads' "Slippery People." The Staple Singers found a new audience in 1994 when they teamed with Marty Stuart to perform "The Weight" on the Rhythm, Country & Blues LP for MCA. Sadly, Pops passed away on December 19, 2000, shortly after suffering a concussion due to a fall in his home. Cleotha died in February 2013 after a decade with Alzheimer's disease. Throughout the 2000s and early 2010s, Mavis released excellent solo material for the Alligator and Anti labels. In 2015, Concord released a four-disc Staples box set, Faith and Grace: A Family Journey 1953-1976. ~ Rob Bowman
These CD's make a perfect (well almost perfect) replacement for the old vinyls. Collects four original albums, including "Swing Low Sweet Chariot" (1961, Vee Jay), "Hammer & Nails" (1962, Riverside), "The Twenty-Fifth Day Of December" (1962, Riverside) and "Swing Low" (1962, Vee Jay), plus rare singles.
The singles are even earlier and offer a real insight into this family of very talented gospel singers. The line up here features Robuck (Pops) Staples (guitar, vocals), Mavis Staples (vocals), Pervis Staples (vocals), Cleotha Staples (vocals) who first formed in the late 1940's and kept going until the end of the 20th century. While many will be familiar with their definitive gospel-soul music on Stax, this set is essential for listeners to catch up on their very unique gospel sound. 'Pops' Staples guitar was also a major influence to others. All told this is a great set even if (like me) you are not a Christian. -Mike W
1. I'm So Glad 2:12
2. Swing Down, Chariot 2:40
3. The Old Landmark 2:12
4. Good News 2:37
5. Each Day 2:33
6. Uncloudy Day 3:01
7. Let's Go Home 1:31
8. Pray On 2:45
9. Help Me Jesus 2:42
10. Going Away 1:57
11. Don't Knock 2:27
12. Swing Low, Sweet Chariot 2:57
13. It Rained Children 2:57
14. If I Could Hear My Mother 2:50
15. God's Wonderful Love 2:42 Disc 2
1. Born in Bethlehem 2:02
2. Stand By Me 3:33
3. I've Been Scorned 2:44
4. Two Wings 2:13
5. Calling Me 3:22
6. Sit Down Servant 2:44
7. The Day Is Passed And Gone 3:42
8. This May Be The Last Time 2:03
9. I Know I Got Religion 2:26
10. Let Me Ride 2:42
11. I'm Coming Home 2:35
12. I Had A Dream 2:52
13. Low Is The Way 2:35
14. Since He Lightened My Heavy Load 2:31
15. On My Way To Heaven 2:22
1. Hammer And Nails 2:25
2. Gloryland 3:07
3. Everybody Will Be Happy 2:35
4. Hear My Call, Here 4:10
5. Nobody Knows The Trouble I've Seen 2:34
6. Great Day 2:03
7. I'm Willin', Part 1 2:57
8. I'm Willin', Part 2 3:16
9. Do You Know Him 2:15
10. New Born Soul 2:11
11. A Dying Man's Plea 2:45
12. New Home 3:47
13. I'm Leaving 2:10
14. Downward Road 2:33
15. So Soon 2:11
16. Will The Circle Be Unbroken 2:50
17. Don't Drive Me Away 2:24 Disc 4
1. The Last Momth Of The Year 2:23
2. The Virgin Mary Had One Son 2:45
3. Go Tell It On The Mountain 2:30
4. Joy To The World 1:45
5. Holy Unto The Lord 3:22
6. The Savior Is Born 2:11
7. Sweet Little Jesus Boy 3:40
8. No Room At The Inn 2:50
9. There Was A Star 2:25
10. O Little Town Of Bethlehem 2:03
11. Wasn't That A Mighty Day 1:51
12. Silent Night 2:20
13. Too Close 5:30
14. This Same Jesus 2:48
15. Gamblin' Man 2:44
16. Use What You Got 2:13