Collection of songs presenting the shady sides of country music : the dark, the weird and the loner-side.

'Great comp, surprised it hasn’t gotten more attention... a few lazy, strange choices: like having 2 Peter Grudzien songs, and Piledriver seems out of place, but maybe I’m just sick of that song from other comps. All in all a great mix well suited for repeated listens.' -dusty.grooves

"There is another side of Country. All North American music from the the late '60s & '70's which just don't fit with a normal country & western release. Arlie Neaville sings composition from Jim Cuomo (Spoils of War) just before he became a Christian singer... Porter Wagener sings "The Rubber Room" before he became insane?... Mother Tucker Yellow Duck sing "Kill the Pig" ... before this song was banned and many more obscure and beautiful tracks. Many of these feature the same sense of desolation as beautifully evoked on Skip Spence's Oar, a pure isolated spirit of forgotten Americana." Artists featured are: Spur (1969), Arlie Neaville (1969), Peter Grudzien (1973), Palmer Rocky (1980), Maitreya Kali (1972), William C. Beeley (1968), Alex Kubelin (1980), The Bluebird (1970), Weird Herald, Fresh Blueberry Pancake (1970), Flying Circus (1970), Mother Tucker's Yellow Duck (1968), The Wilson McKinley, Dennis The Fox (1975), Kevin Vicalvi (1974), Merrell Fankhauser (1968) and Greenwood, Curley & Clyde (1972).

'Now here's an odd one: a compilation of very obscure country tunes from across America recorded between 1968-1975. Alt-country indeed. Seriously, the opening track, "Never Trust a Woman," from 1969 -- by a band called Spur of Moment who wished they were the Byrds circa the Gram Parsons era -- has lines in the refrains such as: "Never trust a woman with your dope/Don't ever Trust a woman with your hash/Don't ever trust a woman with your speed." Pedal steel guitars duel with four-part harmonies and gutbucket bass -- weird. The next cut, "Tawney," one from Illinois semi-legend Arlie Neaville, comes right out of the 1966-1970 period of Roy Orbison -- beautiful folky melodies woven with horns, jangling guitars, and Neaville's stunningly beautiful voice, full of deep emotion and wild abandon. Already the many-sided personality of this compilation is splitting at the seams. But it gets even more surreal with two tracks from Peter Grudizen's Unicorn album -- folky and freaky with psychedelic effects. The titles? "White Trash Hillbilly Trick" and "The Lost World." Palmer Rocky checks in with an apocalyptic folk song worthy of Jandek or Bonnie "Prince" Billy. A lot of this is more on the folk side of country, but the songwriting is never less than interesting and sometimes, as in the case of William C. Beeley's "Galivanter" and Neaville's "Today Was the Time" (written by Jim Cuomo), it is downright astonishing. And with the exception of "Don't Ever Trust a Woman" and Grudizen's cuts -- and perhaps "Kill the Pig" by Mother Tucker's Yellow Duck, which is nothing more than a psych workout disguised as country music -- this is serious, very fine, and worthy of repeated listening. Germany's Normal label does it again.' -AllMusic Review by Thom Jurek

1. Spur - Don't Ever Trust A Woman 2:12
2. Arlie Neaville - Tawney 2:34
3. Peter Grudzien - White Trash Hillbilly Trick 2:59
4. Palmer Rockey - Scarlet Warning 1:44
5. Maitreya Kali - Country Girl 2:51
6. William C. Beeley - Galivanter 2:21
7. Rider - Rider 2:38
8. The Bluebird - Going To Nevada 3:35
9. Weird Herald - Just Yesterday 3:25
10. Peter Grudzien - The Lost World 2:24
11. Fresh Blueberry Pancake - Bad Boy Turns Good 3:23
12. Flying Circus - Bety June 2:12
13. Mother Tuckers Yellow Duck - Kill The Pig 2:05
14. Wilson McKinley - Last One Asleep 2:56
15. Dennis The Fox - Piledriver 5:10
16. Kevin Vicalvi - Lover Now Alone 3:05
17. Merrell Frankhauser - Your Painted Lives 2:15
18. Arlie Neaville - Today Was The Time 2:20
19. Greenwood, Curley & Clyde - One Time One Place 3:41


(2011/Munster) 22 tracks, gatefold digisleeve with a great 22 page booklet cover shots and ads! It's a great collection for someone who's new into The Cramps.

“You ain’t no punk you PUNK,” screams Interior at one point… And I tell you, he’s right. Find out just how right, and fill in the gaps in your record collection besides, by giving this hot-rod collection a spin.

'I've no idea why The Cramps don't seem to figure in a lot of alleged histories of punk or just plain music in general. This could be down to them being utterly or unpigeonhole-able (is that even a word?) or just outright ignorance. Perhaps a bit of both but hey, let's not concern ourselves with that. The band changed the face of culture. Period. Without bothering "the charts" or playing too many stadiums, their seismic effect on everything you hold dear will be felt for all time.

This ancient knowledge - some of their grooviest gravy - is presented here for your delectation and delight. So get a crack-a-lackin' with blasting these twisted hymns morning, noon and night. And while the ruckus is in full swing, pray to whoever might listen that Ivy will get around to compile the ultimate document of her undulating combo in commemoration of their services to entertainment. The bloody gears of this here rockin' machine will be rolling way beyond the foreseeable future.

Reasons outwith anyone's control might mean that you can't see the band anymore but no one - no how - will be able to make this thing stop. Meanwhile, dig into this feast for the little ghouls that understood all along or indeed anyone with a decent set of ears.' -Lindsay Hutton

'When the Cramps first surfaced on the edges of New York's nascent punk scene in 1976, they were a band with a genre all their own; the word "psychobilly" hadn't been coined yet, and while "voodoo rockabilly in the key of death" was accurate enough, it didn't exactly roll off the tongue. The death of Lux Interior in 2009 finally closed the book on the band after more than three decades, but to the last they were an act with a sound and style all their own, a gleaming monument to perversity of all sorts that tapped into rock & roll's most primal influences, presenting its beating heart for all to see. Licensing issues have prevented a comprehensive, career-inclusive Cramps anthology from happening (at least as of this writing), but Munster Records have delivered a worthwhile assessment of the group's first and most musically satisfying era with the compilation File Under Sacred Music: Early Singles 1978-1981. True to its title, this disc pulls together the A- and B-sides from ten singles the Cramps released during their first few years before differences with I.R.S. Records led to a five-year layoff from the recording studio. Since the band's first two singles were compiled on the EP Gravest Hits, most of the remaining tunes later appeared on the albums Songs the Lord Taught Us and Psychedelic Jungle, and the collections Off the Bone and Bad Music for Bad People both featured a number of B-sides and oddities, there is precious little here that can honestly be called "rare," outside of the hard-to-find "Twist & Shout" (not the Isley Brothers classic) and "Uranium Rock" (a Warren Smith cover), but if you're looking for 67 minutes of primal howling, twanging guitars, and echoing madness, you could hardly do better than this set. The Cramps made more than a few fine records after this period (particularly the albums A Date with Elvis and Stay Sick!), but they were never as consistent as they were in their first era with Nick Knox behind the drums and either Bryan Gregory or Kid Congo Powers on second guitar, and these 22 songs still wail as loud and as wild as they did when they were first recorded. As an introduction to the Cramps or a reminder of their curious ascent into the spotlight, File Under Sacred Music is remarkably close to perfect.' -Allmusic Review by Mark Deming

Most of the songs that made the Cramps' reputation are collected on this suitably trashy box set of the band's early singles and other tracks from between 1978 and 1981.

The Cramps were record collectors before they were a band. When Erick Purkhiser and Kristy Wallace met in 1972, they discovered they were both into the same kind of thing: the music of 15 years or so earlier that had been all about kitsch and shock and sleaze, with shitty sonics and snarling, hiccuping singers, and hilarious over-the-top bravado. In the early 1970s, being into "50s rock'n'roll" meant American Graffiti and Sha Na Na and "Happy Days". Wallace and Purkhiser preferred the nasty also-rans-- the records that actually tried to be the threat to society that people sometimes pretended pop music could be.

It wasn't much of a leap to starting their own band in the same mode. Purkhiser reinvented himself as Lux Interior, the slavering, writhing, nearly naked, ectomorphic frontman of the Cramps, and Wallace was Poison Ivy Rorschach, a "bad girl" in leather and wigs and velvet who tore off one ichor-dripping 12-bar guitar riff after another. They didn't have a whole lot in common with their early punk scenemates other than big guitar noise, but punk rock gave them license to do sleazy, shocking, sopping wet rock'n'roll without having to bother with the usual thin veneer of respectability.

The Cramps were an institution for over 30 years, until Lux's death in 2009. They were one of the few punk-era bands who were well served by aging, since they were trying to come off like creepy, depraved old people in the first place. But they were always a better singles band than an album band, and a way better live act than a singles band. Most of the songs that made their reputation are collected on this suitably trashy set. The vinyl version of File Under Sacred Music is, appropriately, a "collectible" box of the band's first 10 singles in replica sleeves--or rather, it would be except that four of them were never actually issued as singles at the time. (The Cramps always did snicker at anything that claimed to be authentic.)

That's probably the ideal way to hear this material: Lux, Ivy, and their ever-rotating associates made the kind of strong, silly records that are best in hot-sauce doses of between three and six minutes. They occasionally came up with fabulously personal-space-invading originals like "Human Fly" and "New Kind of Kick", the latter of which features two lines that explain their raison d'être: "Life is short/ Filled with stuff" and "I learned all I know by the age of nine." The better part of File Under Sacred Music, though, is the crate-digging covers that were their calling card.

Their first single (produced, like a lot of their early material, by Alex Chilton) was a cover of one of the most familiar trash-rock staples, "Surfin' Bird", extended to five minutes with a sloppy gnarl of guitar and drum noise. They subsequently shied away from anything that familiar. Instead, they turned their attention to obscurities whose quirks they exaggerated to the point of perversion. Jack Scott's "The Way I Walk" was slowed down to a psychotic limp, with Lux hyperventilating every line and Ivy screaming bloody murder in the background; Ronnie Cook & the Gaylads' nutty novelty "Goo Goo Muck" turned into a hilariously lascivious threat on which Lux shrieked, trilled, gurgled, and enunciated the title like it referred to whatever bodily fluids your parents feared most.

The title of File Under Sacred Music is a joke about the dusty record stores the Cramps loved, as well as about their own discography: Songs the Lord Taught Us was the title of their first album, Songs the Cramps Taught Us the name of one of the many series of bootlegs of the original songs they covered. But the amazing, out-of-control music they saved from oblivion could show them up, at least on record. To hear the Novas' feral pro-wrestling novelty "The Crusher" ("Do the hammerlock, ya turkeynecks!") next to the Cramps' cover is to understand the difference between lunatics who've somehow ended up with a mic in front of them and record collectors doing a solid, deliberate impression of lunatics. -Douglas Wolk

1. Surfin Bird 5:09
2. The Way I Walk 2:42
3. Human Fly 2:17
4. Domino 3:10
5. Lonesome Town 3:05
6. Mystery Plane 2:41
7. Fever 4:20
8. Garbageman 3:37
9. TV Set 3:16
10. The Mad Daddy 3:17
11. Drug Train 2:39
12. Love Me 2:04
13. I Can't Hardly Stand It 2:45
14. Twist + Shout 2:34
15. Uranium Rock 2:30
16. Goo Goo Muck 3:08
17. She Said 3:18
18. The Crusher 1:50
19. Save It 2:59
20. New Kind Of Kick 3:33
21. Rockin' Bones 2:50
22. Voodoo Idol 3:39

Incl. 22 page booklet


Classic Italian library/lounge style remastered and reissued. This is one incredible cool & level headed ’70s soundtrack by Italian film score producer, Piero Umiliani. Underrated movie but the soundtrack is a sureshot key that features a set of killer groovy, jazzy, exotic as tunes. Definitely worth a listen!

'This is the second movie with Zeudi Araya, filmed in a hurry to take advantage of the success of the previous “La ragazza dalla pelle di luna”. “La ragazza fuoristrada”, set between Egypt and Ferrara, deals in an unusual way with the theme of racial integration, still considered a taboo at the time especially in remote Italian provinces. Despite the fact that the title evokes the legendary Dune Buggy (the main character, Luc Merenda, is a journalist who goes to Egypt to test it), this is not an action movie but on the contrary is an intimate and thought provoking portrait. Once again Piero Umiliani’s music adds melancholy to the evocative scenes (“Il tuo volto”, “Volto di donna”, “Nostalgia”, presented here in different versions), without neglecting important sound variations like in “Senza tregua”, years ahead of the James Taylor Quartet and acid jazz, or “La rinuncia”, a wonderful rock theme with the Hammond organ. Araya’s voice, in addition to her mysterious and sophisticated beauty, is also worth mentioning. She sings two songs in the movie, “Oltre l’acqua del fiume” in Italian and “Maryam” in Amharic, which for some reason have not been included in the vinyl soundtrack.'

1. Volto di donna 3:27
2. Nostalgia 3:21
3. Nostalgia 3:17
4. Volto di donna 3:30
5. Nostalgia 3:26
6. Volto di donna 2:57
7. Le Ore che contano 5:03
8. Volto di donna 3:27
9. Il tuo volto 2:05
10. La Rinuncia 2:29
11. Cantata per Maryam 1:54
12. Volto di donna 3:26
13. La rinuncia (Alternative Take) 2:13
14. Senza tregua (Alternative Take) 1:56
15. Il tuo volto (Alternative Take) 2:56
16. Cantata per Maryam (Alternative Take) 1:53
17. La rinuncia (Alternative Take) 2:28
18. Oltre l'acqua del fiume (Alternative Take) 2:38
19. La prima uscita (Alternative Take) 2:31
20. Tra la gente (Alternative Take) 2:44
21. Le ore che contano (Alternative Take - Instrumental) 5:01
22. Maryam (Alternative Take) 2:37
23. The Party (Alternative Take) 2:28
24. Volto di donna (Alternative Take - Original Demo) 3:30


Seventies-era gospel soul gems.

'The Time For Peace Is Now compiles fourteen songs that, while recorded over four decades ago, speak now more than ever. The tracks are a subset of 1970s-era gospel, not directly talking about Jesus or God, but instead tackling how we live with ourselves and each other. These are undeniably soulful, passionate, and urgent songs from obscure 45s, dug up from a long dormancy in attics, sheds and rated across the American south. Compiled by Gospel guru Greg Belson.'

''The Gospel bands heard on The Time For Peace Is Now were comprised of musicians who played both church and secular music. The church borrowed—or rather commandeered—the guitar, bass, drums, and other instruments used to backup Motown, Stax, and other popular labels—to give power to the songs they supported. Musicians who sang at ‘the club’ on Saturday night were often leading solos or singing in the choir on Sunday mornings. Saturday night and Sunday morning music began to interweave, which was especially felt when the church choirs sang Gospel. It was Gospel’s influence that made Aretha Franklin, Sam Cooke, and many others the voice of the 1960s and 1970s. Gospel was the soul of America.

This album is reflective of the dichotomy of the sacred and the secular. The music here is in some sense the same as the music of the club. Keep Your Faith To The Sky could have you singing Keep Your Head To The Sky by Earth, Wind and Fire. Listening to It’s Hard To Live In This Old World and That’s A Sign Of The Times imbues the pessimistic/realistic sense of what was happening. Like many Blues songs, the problem must first be named before it can be solved. At the end of The Time For Peace Is Now, hope is still present. The problem is named in the beginning and a possible solution is presented.'' -Pastor Keith L. Whitney

'Like the pre-war gospel music before it, the golden age of gospel music between the end of World War II and the end of the Civil Rights period has been well-documented. The inseparable relationship between the sacred music of the Black Church and the civil rights era spilled over into the secular soul and R&B of the '70s thanks to the inspiration and commercial success of the Staple Singers, who began as a family sacred gospel band in the late '50s and made the transition to secular radio via Pops Staples' songs of advocacy, struggle, and hope for the Stax label set to the beat of secular soul. Artists from Andrae Crouch & His Disciples to the Mighty Clouds of Joy to Sly & the Family Stone employed musical and vocal elements from gospel in their soul and funk. Detroit Pastor Keith L. Whitney calls it "Barbershop Gospel" in his liner essay, detailing the influence of another social institution in African American culture as a space uniting the sacred and secular. (He should know: Detroit is the gospel capital of the world.) Many of musicians played in clubs and concert halls on Saturday night and in church on Sunday morning. This set reveals the dichotomy of that musical duality.

The Time for Peace Is Now, the second volume in Luaka Bop's World Spirituality Classics series (the subject of the first was Turiya Alice Coltrane's ashram cassettes) makes a significant first step in revealing the symbiotic relationship between gospel and soul. This set contains 14 songs by 13 artists (including a killer called "We Got a Race to Run" by a group called the Staples Jr. Singers) who recorded for small independent labels during the '70s and sold their wares after church services in their hometowns and on the road. Some still perform today. The set was compiled and annotated by DJ Greg Belson, a collector who also produced Divine Disco: Gospel Disco: 1974 to 1984. All these tracks are impeccable. They offer spiritual truth to a backbone-slipping backbeat. Check the bluesy gospel of "It's So Hard to Live in This Old World" by Rev. Harvey Gates, with its silvery, shimmering piano and tight brushed snare. The Floyd Family Singers' "That's a Sign of the Times" is lithe, organ-driven funk with a bassline that shares the frontline with the vocals. The Religious Souls' use of Marvin Gaye's '70s production sensibility in "Condition the World Is In" should have made it a radio hit. The Gospel I.Q.'s "Peace in the Land" is transcendent use of Temptations' and O'Jays' influences. The Soul Stirrers' "I'm Trying to Be Your Friend" borrows from the Staple Singers and mid-'60s Motown, while the Mighty Revelaires place a swirling B-3 organ on "Sunshine After Every Rain" that's a note-for-note remake of "House of the Rising Sun"! The set includes an introductory note by novelist and gospel fan Jonathan Lethem, and a fine essay by journalism professor and former gospel music editor for Billboard magazine Robert F. Darden. Combined, the music, essays, artist photos, and complete lyrics in the booklet make The Time for Peace Is Now an essential compilation -- no matter your beliefs or lack thereof -- for any fans of '70s soul.' -AllMusic Review by Thom Jurek

“The Time For Peace is Now”
Illuminates the ’70s Gospel-Soul Underground

The Floyd Family Singers
“We were coming up in such a hard time,” says singer Annie Caldwell. “Nobody really loved each other like they should.” She’s talking about the late ‘70s in America—the period of time covered in Luaka Bop’s new soul-gospel compilation, The Time for Peace is Now. Caldwell’s family band The Staples Jr. Singers (named as an homage, but otherwise unconnected to their idols) was part of a wave of gospel acts that blended spiritual concerns with the everyday realities of a largely Southern, African-American community still finding their feet in the aftermath of the civil rights era.

The intersection of faith and struggle is as old as religion itself. But the artists captured on this compilation—inspired by crossover successes like The Staple Singers, The Rance Allen Group, and The Mighty Clouds of Joy—brought R&B to gospel’s Sunday dinner, channeling their spiritual might into songs that addressed the secular issues of the time. The subtitle of The Time for Peace Is Now is Gospel Music About Us. As Caldwell puts it, “Most of our songs came from the experiences that we went through,”

With the exception of The Soul Stirrers—famous for having been Sam Cooke’s vocal group in the ’50s—the artists included on the collection will be unfamiliar to those who haven’t spent their Saturdays digging through dusty crates for obscure ’70s singles on long-forgotten micro-indie labels. Compilation producer Greg Belson, a British-born DJ who started out as a soul collector, is one such explorer; his love affair with gospel began in the early ’90s. “Gospel at the time was relatively untapped in the secular world of DJs,” he says, “so when I went on a record dig to the U.S. in late ‘93, I started surfing the bins, and found so much gold.” Some of the finest fruits of Belson’s sonic spelunking are shared here.

Birmingham Spirituals Concert Poster -r- The Religious Souls
In addition to using their lyrics to take the temperature of the times, the artists on Time for Peace also adopted the funk and soul grooves that were on the rise in that period, effectively creating a sort of “post-gospel” music. Swapping conventional gospel rhythms for more contemporary grooves was another sign that a new generation was taking the reins and assimilating the popular sounds of the day; but it also may have been a pragmatic move. As Belson suggests, “The need to attract a new generation of listeners to their message was close to the core.”

Though some of these records have become collector’s items, changing hands for thousands of dollars today, most of them made only a local impact at the time of their release, coming perilously close to ending up in history’s wastebasket. But operating on a regional level may actually have helped these gospel artists in their mission to address humanist themes. “Local groups like the Little Shadows, Staples Jr. Singers, and the bulk of the artists featured on this compilation may well have written this style of song by referencing their local community, magnifying it into a universal meaning,” Belson says. “They focused on the congregation and the problems in their locale, and used that voice for a deeper, more widespread meaning.”

Rebounding from the horrors of the Vietnam war, Florida’s Little Shadows, another of this collection’s many family bands, released songs like “Mr. Nixon Hear My Prayer” and “A Prayer for Our Soldiers.” And on the  title track “Time for Peace,” they tether their pacifist pleas to a loping bass line and skittering soul groove. With its multigenerational vocal blend, agile bass line, and hooky pop-soul refrain, The Religious Souls’ mantra-like “Condition the World Is In” comes off like a lo-fi, socially conscious Jackson 5 outtake. And while “That’s a Sign of the Times” by Georgia’s Floyd Family Singers wasn’t released until 1980, the track still feels distinctly tied to the ’70s, with its yoking of disco-friendly beats to lyrics that depict humanity as staring down hate, starvation, and apathy.

The Triumphs
But despite all the societal ills cataloged in these tunes, these were still gospel acts first and foremost. And none of them would have made it out their front door if they weren’t ultimately spinning an inspirational message of hope—however world-weathered and streetwise it was. Willie Scott & The Birmingham Spirituals point the way upwards on the lambent “Keep Your Faith to the Sky,” which Belson calls “a pure honeydripper of a track.” If it were about romance instead of agape love, it would have been perfectly at home amid Philly International’s smooth ’70s soul stable.

The Staples Jr. Singers’ “We Got a Race to Run” took a clear-eyed look at the troubles of the times while still keeping one eye on heaven. Annie Caldwell (whose surname at the time was Brown, like her family bandmates) was just 14 when she delivered the gobsmackingly precocious performance. Perhaps even more impressive, she also wrote the song. “During the time, people were fighting against each other,” remembers the singer, “black and white were fighting against each other, our own race were fighting against each other, and nobody seemed to care… The song just came to me—people, we got a race to run. You may mistreat your sister, you may mistreat your brother, but when we get with Jesus all this gonna be over.”

The Little Shadows
With its bed of wah-wah guitar and deep-pocket grooves, The Williams Singers’ “Don’t Give Up” is probably the funkiest song ever to quote Matthew 5:10-12 (look it up, heathen). It could be a churchier cousin to Curtis Mayfield’s “Move on Up.” Even when it shifts into a more colloquial tone, “If you hold out through the night I know joy gonna come in the morning” operates equally well on either (or neither) side of the spiritual/secular divide.

To Belson, that song is crucial. “That’s the crux of the message and the theme of the compilation wrapped up in a nutshell,” he says. “No matter what is happening in your own world, albeit personally or on a global scale, keep your head to the sky—please, don’t give up!” -Jim Allen

1. Time For Peace - The Fantastic Shadows 4:46
2. It's Hard To Live In This Old World - Rev Harvey Gates 3:03
3. That's A Sign Of The Times - The Floyd Family Singers 3:07
4. Keep Your Faith To The Sky - Willie Scott and the Birmingham Spirituals 5:09
5. We Are In Need - James Bynum 4:05
6. Condition the World Is In - The Religious Souls 4:10
7. We Don't Love Enough - The Triumphs 3:36
8. Peace In The Land - The Gospel I.Q.'s 3:01
9. We Got A Race To Run - Staples Jr. Singers 3:06
10. I'm Trying To Be Your Friend - The Soul Stirrers 3:16
11. Let Your Light Shine - Willie Dale 3:33
12. The Price of Love - Rev Harvey Gates 3:08
13. Sunshine After Every Rain - The Mighty Reverlaires 2:41
14. Don't Give Up - The Williams Singers 3:04


Seventeen languid guitar instrumentals, femme fatale dirges, and cinematic country crooners score the loneliest night of one man’s life.

notes on the release
'The previously unissued soundtrack to the 1964 noir, You’re Not From Around Here, discovered after 55 years in the Louis Wayne Moody archive. A hobo’s bindle full of twangy tremolo, reverb-drenched revenge, and existential echo. Songs of alienation, paranoia, dark alleys, betrayal, prison, prostitution, trains, gun play, feminine betrayal, and the dusty, lonely road of self discovery. A black and white affair trapped under the weight of a post-war technicolor allure, You’re Not From Around Here lives in a universe of moral ambiguity.' -Numero Group

'One of the most enigmatic records we've ever gotten from the Numero Group – especially since they usually go out of their way to tell the full story of most of their releases. This set purports to be the never-issued soundtrack from a 60s film titled You're Not From Around Here – but none of the film details, director, or writer show up with an internet search – leading us to believe that the label just felt that the whole thing was a great story to serve up some twang-heavy rarities from the underbelly of early 60s rock and roll. Turns out, they were plenty darn right – as the package alone is a dream – a cool octagonal box with a replica poster and a very cool look – housing a record full of rare rockers.' -Dusty Groove

1. Gene Sikora - A Song for Mary 2:32
2. Cheryl Thompson - Black Night 2:00
3. Bailey's Nervous Kats - First Love 2:20
4. Don McGinnis - Good Luck to You 2:45
5. Attila & The Huns - The Lonely Huns 2:56
6. Dick Campbell - Like the Wind That's Free 2:54
7. Eddy Bailes & the Cadillacs - Dark Side of the Moon 2:29
8. The Jades - Lost Train 0:43
9. Hayden Thompson - 16.88 3:28
10. Slim Martin - Haunted After Midnight 2:53
11. Shelley Duncan - Somewhere Down the Line 2:48
12. Alvie Self - Lonely Walk 2:11
13. The Expresso's - Wandering 2:49
14. Nicky Roberts - Spaceman (Out of Nowhere) 2:17
15. Buzz Clifford - Wouldn't It Be Nice (To Have Wings and Fly) 2:51
16. Houston & Dorsey - Ebb Tide 3:56
17. Charlie Megira - Tomorrow's Gone 4:09


'Ever heard a Kenyan gospel psych R'n'B record before? Well, now thanks to Afro7 you have. Brilliant stuff.' -Mr Bongo

'Amazing gospel Afro-rock and psychedelic Afro-Funk from mid-70s Kenya!' - Sofa Records

'Reissue of a tough gospel doublesider from Nairobi 1976! Devil Go is a great R&B shaker while Jesu Kristo is a funky afro-rock number! Comes with original label design and bespoke afro7 jacket! Head over to and order you copy!'

David Waciuma a BIOGRAPHY – he was born in 1945 in Naaro Village, Kandara Muranga County. He went to Naaro / Kirunguru Primary Schools where he did his KAPE. He then proceeds to the Duke of Clocester High School (Nairobi High School) After Independence he was the first lot to be taken to Denmark to be trained as Air force cadet. Around 1964 he came back and said the place was too cold for him. And then in 1965 he was taken again to Egypt Cairo for the same cause. After one year he came back again because of fighting in the collage not completing his scholarship … yet again! His good mother (Wangui Waciama) again talked to Dr. Kiano and he was taken to Canada for full Scholarship to do same cause for 3 years, and then later he joined his brother in America. This is where he started and polished his music career and formed a band. Now in 1971 he came back and told his parents he wanted to become a musician then his older brother whom he was with in USA (Dr Wanjohi Waciama) bought him musical instruments. In 1972 he formed his first band The Monks Experience as a lead guitarist he made an impact to the young and old in the boogy euphoria. He was mostly performing in a club on top of a tall building in the Nairobi KICC, but then he moved to Florida Club along Koinage Street – Nairobi. In 1976 he met the love of his life Anne Kamwende, a student teacher in Kilimambogo Teachers Collage. They tied the knot in PCEA Ting”ang”a Church on the 11th Dec 1976. Then after that he changed from secular music to Gospel music in 1977 and formed RAPTURE VOICES further on he started attending evangelical meetings and getting more socialised in that comunity, eventually he became less active in playing music. David and Anne were blessed with two girls and two boys. David Waciuma died in December 2016.

1. Devil Go 3:36
2. Jesu Kristo 4:30

AFRO7 - The worlds biggest hub of East African 45RPM's!


Killer compilation, put together by Steve Barrow so you know it's quality - I Roy, Tappa Zukie, Dr. Alimantado, Jah Stitch, Dillinger, Prince Jazzbo and more over tough Aggrovators rhythms, with King Tubby in the mix

'Although Bunny Lee first entered the music industry back in 1962, he didn't move into production until 1967. Even as he oversaw a string of hits in the rocksteady age, notably with the Uniques and Roy Shirley, it was the roots age on which Lee really stamped his imprimatur. Carlton "Santa" Davis, drummer with Lee's studio band, the Aggrovators, created the band's distinctive "flying cymbals" sound, and with it the producer's 45s stormed the dancehalls. However, without his own studio, Lee had to be particularly innovative to turn a profit, and the producer's two-pronged solution would change the course of Jamaican music. To save money, Lee utilized the same backing track for a variety of different releases, popularizing "versions," a trend that continues today and has yet to peak. Second, rather than having his band waste time learning new songs, Lee set the Aggrovators loose on Studio One and Treasure Isle classics, reinventing these golden oldies in steppers and rockers style. Recycling, too, remains integral to the modern dancehall. Lee's vocalists happily composed new lyrics for these newly resurrected riddims, but in the end, these innovations favored the DJs, and by the '80s, the toasters had virtually displaced vocalists in the dancehalls. If Deejay Was Your Trade showcases some of Lee's best chatterers, all voiced and mixed down at King Tubby's studio. As listeners have come to expect from Blood & Fire, an excellent booklet is included, providing pocket bios of the DJs as well as any other salient information, and identifying each of the riddims. Prince Jazzbo aims insults straight at I-Roy's head; their popular "feud" delighted dancehall fans, but the master doesn't respond to the upstart pupil here. Instead, fans are treated to one of his strongest cultural numbers, "War and Friction." Other potent cultural cuts include Dr. Alimantado's "Chant to Jah," Big Joe's "In the Ghetto," and Jah Stitch's "Set Up Yourself Dreadlocks." The latter DJ's "Black Harmony Killer" rightly brought Stitch to the U.K.'s attention -- and while Tapper Zukie had already made his mark there, his track with Lee still reinforced his reputation. The mighty Prince Far I was on the verge of breaking out abroad, but "Shuffle and Deal" apparently precedes that, and predates "Deck of Cards" as well. Both boast the same toast, "Cards" featuring a very different backing overseen by Joe Gibbs. Tony "Prince" Robinson would elevate Little Joe to Ranking Joe, but before that, he cut the exhilarating "Tradition Skank" for Lee, his sole recording for the producer. Dillinger was already a star, and his two delightful toasts here give ample reason why. Lee unleashed a flood of DJ cuts during the mid-'70s, but these are some of the best.' -AllMusic Review by Jo-Ann Greene

'If Deejay was your trade in Kingston during the seventies, chances were odds-on that you'd record for Bunny Lee. Bunny, aka 'Striker', has been one of Jamaica's most successful and prolific producers. Although Channel One and Joe Gibbs had wrested dominance from him by 1977, his position as one of Jamaican music's prime movers was assured. Hitmaker for vocalists like John Holt, Delroy Wilson and Johnnie Clarke, when deejays like Big Youth and U. Roy achieved a measure of crossover success in the UK market during 1975/6 he began issuing deejay tracks galore. During the seventies he recorded nearly every Jamaican deejay, from Alcapone to Zukie. This compilation collects work from nine of those great toasters, boasters and jesters. 

The deejay records Bunny Lee made at this time were usually done quickly; Bunny had evolved a production method in which everybody - artists, musicians, engineers - performed at full stretch with studio costs kept to minimum. The rhythm tracks - often versions of classic Coxsone or Treasure Isle tunes- were built at studios like Dynamic, Randy's and Channel One. All the deejays voiced at King Tubby's studio in Waterhouse, Kingston 11. The aim was to get the records on the street and selling as quickly as possible. In spite of limitations, this method proved successful time and again, the resultant music always enjoyable, often inspirational. Here then, sixteen pieces of old school deejaying, the real roots of today's dancehall and rap sound - so check it out yah!' --Steve Barrow - January 1994

1. 'In The Ghetto' - Big Joe
Big Joe had worked for Spanish Town producer Harry Mudie, making fine records like 'Black Stick Rock' and 'Set Your Face At Ease', then for producers like Coxsone Dodd, Lloyd Daley and Winston Edwards before linking up with Bunny for whom he made the album 'Keep Rocking & Swinging'. Here he expounds sound system philosophy and name checks ghetto areas like Greenwich Town, Riverton City and Payne Avenue. Rhythm track is Johnnie Clarke's stepping version of 'Satta Masa Gana'

2. 'War & Friction' - I. Roy
I. Roy was the first deejay to record for Harry Mudie, after deejaying his own Son's Junior set and the great Ruddy's Hi-Fi. Following U. Roy on King Tubby's Home Town Hi-Fi, he soon established himself as a master lyricist with scores of hits for many producers by mid-decade, when he made several LPs for Lee. This track features the deejay as trenchant social commentator. He delivers a meditation on ghetto violence over a booming dub of producer/vocalist Yabby U's Death Trap.

3. 'Tradition Skank' - Little Joe
Joe started out on one of the champion sets of the early seventies, El Paso Hi-Fi, following foundation deejays like Dennis Alcapone. He first recorded for Coxsone, cutting Gun Court in 1975. Sides for Watty Burnett and Pete Weston followed. He made just one track for Striker, a set of repatriation lyrics dropped immaculately onto a hi-power Ronnie Davis version of Burning Spear's Tradition. Prince Tony Robinson renamed him 'Ranking' Joe on a series of hits in 1977; he then recorded for Joe Gibbs, Sonia Pottinger, Sly and Robbie, and others, all whilst deejaying U. Roy's Stereograph set with selector Jah Screw. In the process he became a major influence on modern dance hall style. In 1980 he and Screw rejoined champion sound Ray Symbolic until Ray's untimely death. Since then he has been active both as deejay and producer from his base in New York.

4. 'Jah Is I Guiding Star' - Tappa Zukie
Unusually for a Jamaican toaster, Tappa Zukie first made his name in England, with the Man Ah Warrior album (1973). 1975 saw him back a yard, voicing Judge I O Lord for Lloydie Slim. Tracks for Striker soon followed, like Natty Dread Don't Cry, Pontius Pilate and this, an impassioned avowal of Rastafari. By mid1976 Tappa was producing himself on hits like MPLA and Rockers. He also produced brilliant roots music with Greenwich Farm artists Prince Alla and Junior Ross. Big dancehall hits in Jamaica followed, like Oh Lord and She Want A Phensic. He crossed over the punk audience via appearances with the Patti Smith Group. He continued production throughout the eighties, building a varied catalogue and hitting with Dennis Brown and Beres Hammond amongst others.

5. 'Set Up Yourself Dreadlocks' - Jah Stitch
Stitch boosts the natty dread over a storming Aggrovators version of Please Be True, with Cornell Campbell's dubbed vocals prominent.

6. 'Chant To Jah' - Doctor Alimantado
Striker dusted off Slim Smith's The Beatitude from 1968 for one of Tado's best toasts, wherein the deejay turns the Sermon on the Mount into a sermon in the dance hall. Tubby dubs new life into the rhythm, pushing Tado to higher heights of inspiration

7. 'Mash It Up' - Doctor Alimantado
Previously unreleased, the good doctor tries a progressive thing over Delroy Wilson's Mash Up Illiteracy rhythm. Evidently Striker and Tubby didn't think it was working - you can hear both their voices clearly from midway, as well as Jazzbo deejaying in the background. The dub mix is excellent, with great delay effects courtesy Dr. Satan's echo chamber.

8. 'The Barber Feel It' - Doctor Alimantado & Jah Stitch
The rhythm track versioned here, Ali Baba, was originally a hit for John Holt on Treasure Isle in 1970; Striker built his version in 1975 for singer Jackie Edwards, then used it to create a series of records whose premise was a war between barbers and dreadlocks. Since on an earlier cut Tado had shot the barber, he celebrates the victory by riding around on a motorbike with Jah Stitch, laughing insanely at every barber shop, checking out the daughters and looking for a spliff.

9. 'Bury The Barber' - Jah Stitch
Stitch says last rites over the 'poor barber' on Striker's cut of Stealing, pausing to remark only that a woman was behind everything. Stitch made many good sides for Striker, interrupted only when he was shot in 1976. Miraculously, the bullet entered above his right ear and exited below his left, leaving the deejay alive. His first release after micro-surgery was the album No Dread Can't Dead.

10. 'Black Harmony Killer' - Jah Stitch
Just Say Who by Horace Andy is the backing track as Jah Stitch extols the virtues of the sound he deejayed during the mid-seventies. Stitch came to prominence on Tippertone Hi-Fi with Big Youth and Jah Wise. He was very popular in the UK with hits like Danger Zone Chapter 3 and this '76 soundboy killer.

11. 'Greedy Girl' - Jah Stitch
Horace Andy on the rhythm again, the "brother cool as candy" as Jah Stitch styles him, over one of the all time heavy bass lines.

12. 'Regular Girl' - Dillinger
On a version of the Studio One Mean Girl rhythm, Dillinger fashions a catchy 'singjay' track about a very friendly girl. Dillinger started when Alcapone used to give him the mike on El Paso in the early 'seventies, first recording with Lee Perry who gave him his stage name. He has recorded prolifically up to now, first hitting big internationally for Channel One in 1976 with CB200 and Cocaine.

13. 'Daylight Saving Time' - Dillinger
Over a version of Johnny Ace's R 'n' B opus The Clock by John Holt, Dillinger drops some snatches of nursery rhyme and slang using his best ragamuffin delivery.

14. 'Gal Boy I Roy' - Prince Jazzbo
Feuds have been a feature of Jamaican music ever since Prince Buster called Derrick Morgan a 'black head chinaman'. During 1975, Bunny had I. Roy, Derrick Morgan and Jazzbo name calling on record, just for fun. Jazzbo savages I. Roy on Cornell Campbell's Stars rhythm.

15. 'Good Memories' - Prince Jazzbo
Another Coxsone graduate, Jazzbo defends his way of life, praises the herb, and offers horticultural hints on a previously-unreleased version of Johnnie Clarke's Memories By The Score, a 'double-drum' recut of the Paragons' Treasure Isle classic.

16. 'Shuffle & Deal' - Prince Far I
Far I was toasting from the early sixties on El Toro Hi-Fi using the name King Cry Cry. Here he toasts his Deck Of Cards lyric over a tough bass and drum; he did the same lyric for Joe Gibbs in 1976. This track comes from early 1974, according to the tape box. Far I cut many brilliant records from mid-decade, when he started his own label Cry Tuff. He was tragically killed in summer 1983.

1. Big Joe - In The Ghetto 3:23
2. I Roy - War And Friction 3:21
3. Little Joe - Tradition Skank 3:48
4. Tappa Zukie - Jah Is I Guiding Star 3:28
5. Jah Stitch - Set Up Yourself Dreadlocks 3:01
6. Dr. Alimantado - Chant To Jah 2:59
7. Dr. Alimantado - Mash It Up 2:33
8. Dr. Alimantado & Jah Stitch - The Barber Feel It 3:31
9. Jah Stitch - Bury The Barber 2:53
10. Jah Stitch - Black Harmony Killer 3:03
11. Jah Stitch - Greedy Girl 3:12
12. Dillinger - Regular Girl 2:44
13. Dillinger - Daylight Saving Time 2:24
14. Prince Jazzbo - Gal Boy I Roy 3:13
15. Prince Jazzbo - Good Memories 4:00
16. Prince Far I - Shuffle And Deal 2:54

See inlay for details


In 1979 the late Congolese musician Lumingu Zorro, protégé of Kinshasa’s legendary 60s band leader Dr Nico, recorded Mosese, his only pre-2000 solo album, for the Tabansi label- and this is it.

CHAMPETA STORM WARNING! The first-ever reissue of one of West Africa’s best-kept rumba-soukous secrets- as well as being one of the most in-demand titles on Colombia’s booming Champeta sound system scene, where a rare record is protected as fiercely as on the Northern Soul or Jamaican sound system scenes, the label scratched off, the record hidden from view when not on the turntable.

Possibly one of the strongest and most consistent Congo dancefloor albums ever recorded perfectly balanced between voices, horns, guitars and percussion.

Which is why original copies of this all-time rumba rarity almost never reach the open market, being traded between Colombia’s champeta picoteros (sound system selectors) instead.

In Kinshasa they say ‘Miziki ezelaki eleng ndeko’- ‘Sweet music, brother!’. Roger that. -BBE

1. Dadavi Pitie 7:31
2. Tshina Dekula 8:40
3. Mosese 7:04
4. Meaculpa Mawewe 8:58

Uganda – Tanzania

From Uganda comes Charles Songo who lays a monster funk cut in 'Gkinumanze' jaw-dropping bass and grinding keys. Monster!

'Two tracks from the Doromy archives in Nairobi. Gkinumanze delivers a knockout bassriff in an uptempo frenzy of a tune sung by Charles Sonko from Uganda. Kizunguzungu is a a funky coastal groover from Mwenge Jazz band of Tanzania. Never before on vinyl! Head over to and secure your copy today!'

1. L'Orchestre Kyaddondo International - Gkinumanze 4:33
2. Charles Songo - Gkinumanze (Diamond Setter Edit) 4:50
3. Mwenge Jazz - Kizunguzungu 6:00
4. Mwenge Jazz - Kizunguzungu (Diamond Setter Edit) 6:08


More songs about Satan, suicide, dope, murder and mayhem: all prime ingredients in country music!

'Deep in the woods this smokey catalog of Nashville icons and hayseed misfits births 'Hillbillies In Hell: Tribulations' - a subterranean collection of deathly Nephilim, swampy graves, teenaged suicidal ideation, tormented Gospel tales, grisly mountain murders, craven lustmords, Apocalyptic visions and problematic parenting. Often originally waxed on microscopic labels and distributed in minuscule amounts, these troubled and sometimes forgotten troubadours sing of lustful homicides, masonic assassinations and Satan's perpetual slaves. Years in the making - 'Hillbillies In Hell: Tribulations' presents 32 testaments of timeless tribulations - sinful succubi, axe-wielding cuckolds, vengeful Hill-folk and the eternal quest for blistered redemption. A Mephistophelean cache of primordial 45s - some of these sides are impossibly rare and are reissued here for the very first time. All for your prurient listening pleasure. *Limited Edition Deluxe 32 Track CD with 20 page booklet! *Exclusive scholarly liner notes by Alvin Lucia! *Full dynamic range 2019 remasters direct from the first generation analogue master tapes!'  --Omni Recording Corporation

'Tortured souls and troubled hearts – served up here in a dark set of narratives from the classic years of country music. As with previous volumes in this excellent series, the package goes way beyond the big hits, to turn up lots of great songs from the shadowy corners of country – songs about bad deeds and poor choices – handled by a variety of different singers who really keep things interesting. There's way more love of the music here than the sense of kitsch you might expect from the cover – and although you might first find the songs appealing from a gimmicky perspective, we can bet that you'll be getting the message before long. (Note: most of the contents are the same as the LP 777 in the series – but the CD has 32 titles in all!)' -Dusty Groove

1. Hank Willams - The Angel Of Death (Undubbed Version) 2:19
2. Hank Williams Jr. - Endless Sleep 2:26
3. Tex Williams - Smokey Hollow 2:21
4. The Willis Brothers - Ax Cabin 2:43
5. Bill Browning & The Dark Hollow Boys - Marbone Swamp 2:48
6. Bobby Griggs - Dead Man's Cave 2:18
7. Clyde Moody - Whispering Pines 2:34
8. The Burton Family - I Saw The Light 2:13
9. The Louvin Brothers - Satan's Jeweled Crown 2:56
10. Bobby Grove - There Ain't No Grave Gonna Hold My Body Down 2:50
11. Durwood Daily - East Dallas Dagger 2:23
12. Tex Ritter - Dark Day In Dallas (Tribute To John F. Kennedy) 2:57
13. Cowboy Copas - Bury Me Face Down 2:30
14. Sterling Blythe - You Picked Up A Stranger 3:19
15. Tillman Franks Singers - When The World's On Fire 2:20
16. Sunshine Boys Quartet - No Hiding Place 2:24
17. Bill Hayes - Poor White Trash 2:14
18. G.M. Farley & The Foggy River Boys - The Wilderness Of Sin 2:15
19. Ernest Carter & The Hymn Trio - Ain't No Grave 3:02
20. Ernest Tubb - Saturday Satan, Sunday Saint 3:09
21. Rusty Dean - Sinner Beware 2:59
22. Curtis Potter - Devil River 2:09
23. Ray Winfree - Devil Hang Me High 2:06
24. Johnny Collier - Mama Wears A Mini Skirt 2:10
25. Troy Hess - Please Don't Go Topless Mother 2:39
26. Howard Vokes - It Takes Six Men To Carry A Man To His Grave (But Only One Woman To Put Him There) 2:03
27. Webb Foley - Thirty More Steps 1:48
28. Bennie Hess - Walking That Last Mile 3:14
29. Jimmie Skinner - One Dead Man Ago (Demo) 2:00
30. Clyde Moody - Conversation With Death 2:27
31. Marie Roberson - Shadow Path 1:31
32. Wanda Jackson - Jesus Put A Yodel In My Soul 2:12

Incl. Artwork


Country, folk and bluegrass during the cold war!

From the people who brought you 'Hillbillies In Hell'. War, Patriotism, Pathos, Paranoia and Propaganda in the Country Music Experience. Vinyl Relics recovered from abandoned Fall-Out Shelters and excavated from beneath wastelands of Radioactive Rubble. Country Music Artefacts from the Cold War Era: Hyper-Patriotic Anthems, Delirious Cowpoke Agitprop Diatribes, Peacenik Protestations and Heartfelt Homefront Lamentations. Years in the making - 'Cold War Countdown' presents 28 tempestuous tirades of Red-Scare Pinko-Subversion, Iron Curtain-Clad Simian Freedom Fighters, Bearded Despots, Flower Power Fall-Out, the War Wizened, the Walking Wounded and Heart-Wrenching Fallen Heroes. Most often originally waxed on microscopic labels and distributed in minuscule amounts, these Broadside Balladeers decry the Worldwide Communist Conspiracy, Apocalyptic Holocausts, Bureaucratic Mission Creep and Questionable Personal Grooming. A Red-Hot fission of Atomic-Era 45s - some of these sides are impossibly rare and are reissued here for the very first time. All for your End-Times Bunker listening pleasure. *Limited Edition Deluxe 28 Track CD with 20 page booklet! *Exclusive scholarly liner notes by Alvin Lucia! *Full dynamic range 2019 remasters direct from the first generation analogue master tapes! --Omni Recording Corporation

'A fantastic collection of offbeat country music songs from the postwar years – tunes that begin during the Korean War, end during Vietnam, and embrace a lot of Cold War anxiety in between. As with other titles from this great label – like the Hillbillies In Hell series – there's a great theme at the core, with so many different varieties of songs that we're amazed at how much the compilers were able to dig up. You'll probably recognize a few of these, but most of the tunes are from a pretty deep dig – and even longtime country freaks like ourselves are hearing most of these for the first time.' --Dusty Groove

'On the ’25th’ June 1950, North Korea invaded South Korea, and the Korean War lasted three years, one month and two days. The US Army arrived in early July 1950 and were involved right up until the end of the Korean War on the ’27th’ July 1953. Americans hoped that was the last war their troops would be involved in.

Sadly, that wasn’t the case and on the ‘1st’ November 1955, the Vietnam War began. This time around, America were on the side of South Vietnam in a bloody and brutal war would last nineteen years, five months, four  weeks and one day, and ended on the ’30th’ April 1975. 

By the end of the Vietnam War, the US Army had been at war for nearly twenty-three of the past twenty-five years. The two wars America had been involved in divided the nation, with those in favour of military intervention seeing themselves as patriots, while those in the peace corps were often labeled “pinkos,” “commies” and “traitors” by their critics. Often, families were divided, with generations disagreeing on America’s involvement in the two wars, especially during late-sixties when the peace movement was thriving.

The peace movement’s numbers grew as the casualties in Vietnam increased, and young American soldiers died fighting for their country in what was a brutal war, that deep down, many officers within the US knew that they couldn’t win. So did many back home, who joined the peace corps on a daily basis. They regularly clashed with those who were  pro war, and the two sides provided inspiration for authors, poets, songwriters and musicians during the fifties, sixties and seventies.

So many songs were written about war, that there’s been several compilations released, including Cold War Countdown: Country Music Goes To War (1952-1972) by the Omni Record Corporation for Record Store Day 2019. Cold War Countdown: Country Music Goes To War features sixteen tracks and there’s eight on side one which is entitled War, while side two is entitled Peace and also features eight tracks. These tracks to some extent, document the views of the American nation during a twenty year period.

Opening side one, War, is Moore and Napier’s God Please Protect America,  which gives way to Grandpa Jones’ defiant rendition of I’m No Communist. It’s joined by Art and Glenda Davis’ anti-Castro song The Bearded Bandit Of Cuba and American country and rockabilly musician Autry Inman’s Ballad Of Two Brothers. Closing side one is Red Castle’s Fall Out, which brings this War to a close.

Wanda Jackson and The Party Timers open side two Peace, with Little Boy Soldier, which is followed by Stringbean and His 5 String Banjo 1966 single Crazy Viet Nam War. It’s full of disbelief and even despair at what was happening in Vietnam. A familiar song is Ruby, Don’t Take Your Son to Town sung by Mel Tillis. Arlene Harden’s  released Congratulations (You Sure Made A Man Out Of Him) in 1971, while Marie Roberson’s The Patriot makes its debut on Cold War Countdown: Country Music Goes To War (1952-1972). Both tracks are anti-war, and so are the Jefferson County Bluegrass Boys’ The Craziest War Of The Universe and The Wilburn Brothers’ album closer The War Keeps Draggin’ They’re full of social comment and sung with passion, despair and sadness and are a thought-provoking way to end Cold War Countdown: Country Music Goes To War (1952-1972).

For anyone who is a fan of country music, then Cold War Countdown: Country Music Goes To War (1952-1972) will be of interest to them. This lovingly curated compilation was released for Record Store Day 2019, and is a limited edition of 500. There’s 250 pressed on black vinyl, and the other 250 were pressed on yellow vinyl. However, there’s not many copies still available. That is no surprise.

Cold War Countdown: Country Music Goes To War (1952-1972) eschews the familiar and finds the compilers digging deeper for hidden gems that have passed previous crate diggers and curators by. Having said that, there’s still songs by familiar faces and tracks that many country music fans will know. However, Cold War Countdown: Country Music Goes To War (1952-1972) which is a mixture of the new, familiar and  hidden gems, and is a compilation that will appeal to more than fans of country music, as it documents an important period in American history that divided a nation.' -

1. Moore & Napier - God Please Protect America 2:35
2. Grandpa Jones - I'm No Communist 2:28
3. Johnny Freedom - Ain't I Right 3:15
4. Doc Williams - Freedom Monkey 2:41
5. Art & Glenda Davis - The Bearded Bandit Of Cuba 2:11
6. Red River Dave - The Bay Of Pigs 2:24
7. Autry Inman - Ballad Of Two Brothers 3:32
8. Glenn Barber - Atom Bomb 3:07
9. Wanda Jackson & The Party Timers - Little Boy Soldier 2:37
10. Stringbean & His 5 String Banjo - Crazy Viet Nam War 2:42
11. Mel Tillis - Ruby, Don't Take Your Love To Town 2:46
12. Henson Cargill - Pencil Marks On The Wall 2:42
13. Arlene Harden - Congratulations (You Sure Made A Man Out Of Him) 4:01
14. Marie Roberson - The Patriot 2:14
15. Jefferson County Bluegrass Boys - The Craziest War Of The Universe 2:35
16. The Wilburn Brothers - The War Keeps Draggin' On 2:55
17. Zeke Clements - Smoke On The Water (Viet Nam Version) 2:12
18. Al Rogers & His Rocky Mountain Boys - The Hydrogen Bomb 2:21
19. Elton Britt - Korean Mud 2:54
20. Red River Dave - Song From The U.S.S. Pueblo 2:58
21. Loretta Lynn - Dear Uncle Sam 2:16
22. Smiley & Kitty Wilson - Bring Johnny Williams Home 2:50
23. Wendell Austin & The Country Swings - The Battle Of Viet - Nam 2:49
24. Larry Heaberlin - What About God And Country 1:49
25. Bobby Zehn - Johnny's Not A Toy Soldier 2:37
26. The Perry Bro's - Not Another Viet Nam 3:02
27. Bill Martin - Our Fathers In Washington 2:51
28. Sunshine Boys Quartet - God Please Protect America 2:35

Incl. Artwork


Prayerlike solemnity and raw improvisational power … John Coltrane

'One of THE greatest and most important records in any form of music. It’s thematically brilliant. It’s narrative. It’s trancendental. And it grooves like a mutha. This album will never go out of style. Future generations will keep coming back to it like a sacred oracle of music. Supreme.' -Chris Cocking

'For many a jazz fan John Coltrane's A Love Supreme is their personal desert island pick, the one recording they would not hesitate to live their days out listening to. Recorded on December 9, 1964, the session has endured as a document of the saxophonist's faith, as it was the proclamation of his rebirth from the jazz life of alcohol and substance abuse. 

The 33-minutes that are A Love Supreme come as close to a musical paragon as there ever has been in jazz. Attempts by musicians such as Branford Marsalis, Frank Catalano, and the Turtle Island String Quartet to reproduce the suite have met with mixed results. For many listeners cover versions suffer the same criticisms as a remake of an Alfred Hitchcock film. 

What then if we could hear Coltrane play the music live? Consider just how many times, it must be nearly a hundred, that he was recorded playing "My Favorite Things" live. Those performances didn't detract from the original 1960 studio date, because the Rodgers and Hammerstein piece was merely a platform for improvisation. A Love Supreme appears to be complete itself, with no need for interpretation. Coltrane seemed to believe this, because he performed the suite only on a few occasions. Then again, Coltrane died just 31 months after the session, at age 40. His musical progression seemed to explode post-Love Supreme with his study of new forms, expressions, and freedom. His classic quartet of McCoy Tyner, Jimmy Garrison, and Elvin Jones splintered from his explorations and associations with the so-called New Thing players, Pharoah Sanders, Albert Ayler, Archie Shepp, and Rashied Ali. 

This new collection includes the original 33 minutes, plus the only live recording of the suite, made on July 26, 1965, in Antibes, which was released previously in 2002 in A Love Supreme: Deluxe Edition (Impulse!). That live date is remarkable for Jimmy Garrison's bass solo, which is arguably superior to his take on the studio session. Also included are the original mono masters of "Part III -Pursuance" and "Part IV -Psalm," pieces and parts, false starts and alternate takes and overdubs of the quartet's recording session. The new discovery from this release is the December 10, 1964, sextet session with the inclusion of saxophonist Archie Shepp and bassist Art Davis. As with his invitations to Eric Dolphy and Pharoah Sanders to perform with the quartet, Shepp and Davis bring their own influences to the music. Listening back to these four takes and two false starts of "Part I -Acknowledgment," you can grasp how Coltrane was unremittingly open to the expansion of his writing. Shepp's rawness and the two-edged bass approach hint at the possibilities of Coltrane playing this music live in concert. He ultimately decided to master just the quartet's version, we can theorize, because it is the closest thing to perfection he had ever produced.' -Mark Corroto

A modern jazz classic reissued... with extras

by Richard Williams

'Nominated for two Grammy awards in 1965, John Coltrane’s A Love Supreme was beaten by Ramsey Lewis’ The In Crowd for best jazz performance by a small group and by Paul Horn and Lalo Schifrin’s Jazz Suite On The Mass Texts for best original jazz composition. Half a century later, it is one of the two modern jazz albums most likely to be present in the collections of people who possess only two modern jazz albums.

Like the other candidate for that distinction, Miles Davis’ Kind Of Blue, it seemed to have sprung fully grown from the imagination of its creator, apparently requiring neither rehearsal nor revision. The amount of ancillary material – the equivalent of preliminary sketches and offcuts – is therefore minimal. This has made it hard for producers to construct the enhanced versions devised as a lure to get people who acquired it the first time to buy it all over again, particularly when an anniversary, such as A Love Supreme’s golden jubilee, is spotted by the marketing department.

The first expanded version of Coltrane’s masterpiece appeared in 2002, as part of Universal’s Deluxe Edition series. Alongside the original 33-minute quartet recording, for which Coltrane was joined in Rudy Van Gelder’s New Jersey studio by his regular lineup of McCoy Tyner (piano), Jimmy Garrison (bass) and Elvin Jones (drums), it contained a second disc including the only live performance of the suite, recorded by the same personnel at the Antibes Jazz Festival in July 1965, shortly after the album’s release in the United States. The remaining bonus tracks were two outtakes of “Resolution”, the suite’s second movement, by the quartet, and two of “Acknowledgement”, its opening movement, by an expanded version of the group, with the young tenor saxophonist Archie Shepp and the veteran bassist Art Davis added to the lineup.

This new edition – curated by Ashley Kahn, the author of a fine book about the album published by Granta a few years ago, and Harry Weinger, the genius behind Hip-O Select’s peerless Motown compilations – comes in two sizes. A two-disc version contains the original album, plus seven outtakes from the quartet and sextet sessions, and two mono “reference” versions of the finished third and fourth movements, “Pursuance” and “Peace”, which were given to Coltrane by his producer, Bob Thiele, to take home from the session. The three-disc “Super Deluxe Edition” adds the Antibes concert and extra sleeve notes relating to the live performance.

Fellow fanatics will be interested to hear, from the mono reference tape, the brief double-stopped figure with which Garrison ends “Psalm” (excised from the finished master), and the version of the same piece before Coltrane overdubbed a few notes on alto saxophone to the coda. His original scheme for the suite apparently involved a much larger group, with two basses, and three percussionists (two on congas plus one timbalero); the half-dozen takes of the sextet version of “Acknowledgement” hint at why the attempt at expansion failed, although the idea was only temporarily abandoned and would return with further large-scale works, Ascension and Meditations, the following year.

The Antibes set gives us a looser, less solemn but still mesmerising version of the whole piece, including a version of “Pursuance” that finds Coltrane stretching out in the mode of his great 1961 live recording “Chasin’ The Trane”, oblivious to everything but the pursuit of nirvana in the company of Jones’ tireless drumming. At no time was A Love Supreme in Coltrane’s live repertoire; he had agreed to play the composition, Kahn tells us, in response to a request from the French jazz composer Jef Gilson, who had heard an advance copy of the album.

The booklet accompanying this latest reissue contains hitherto unseen session photographs, facsimiles of the relevant pages from Van Gelder’s diary, Coltrane’s early blueprint for the score and his handwritten notes, including the prayer intended to provide an accompanying text to the music. These jottings really do draw us closer to the great man at the very peak of his career, when he was funneling his increasingly urgent spiritual concerns through the medium of the instrumental skills he had spent 20 years perfecting with something close to obsession. We can now see that alongside an exhortation to “Keep your eye on God” he scrawled another aide-memoire: “Buy reeds in S.F.”.

No-one should purchase either of these sets expecting fresh revelations. In neither of its formats does A Love Supreme: The Complete Masters significantly increase an understanding of either the inspiration or the methodology behind a work best absorbed by the newcomer via the form in which Coltrane chose to give it to us. But in whatever format, the work retains all the power that led Patti Smith to describe it as possessing “the feeling of moral authority in the most humble and spiritual way”. On its arrival in 1965, at a time when Coltrane’s music had so often appeared to mirror the dark turbulence of world affairs, its perfect combination of intensity and clarity made it stand out from everything around it. In 50 years, not much has changed.'

'A Love Supreme is John Coltrane's defining album. Structured as a suite and delivered in praise of God, everything about it is designed for maximum emotional impact. This exhaustive 3xCD set gathers every scrap of material recorded during the Love Supreme sessions as well as a live performance of the suite from later the same year.

John Coltrane was a late bloomer. Born in 1926, the same year as Miles Davis, he spent his twenties in and out of small-time bands, a promising journeyman moving between playing jazz and the more bar-friendly music that was starting to be called R&B. During these early years he had problems with narcotics and alcohol, alternating stretches of heroin use with periods of binge drinking. Charlie Parker—every sax player's hero when Coltrane was coming up in the 1940s and '50s—had given the junkie life a romantic aura for some naive souls, connecting drug use with creativity. But the underachieving Coltrane was a run-of-the-mill addict, someone broke and in ill health whose habit clearly kept him stuck in place. He was fired from Miles Davis' band in 1957 for showing up on the bandstand dressed in shabby clothes and visibly drunk—by some accounts he took a punch from the trumpeter before being given his walking papers. And if Coltrane had spiraled and his career had ended there, he'd be remembered now as a musician who flamed out just as he was discovering his voice.

But that's not what happened. Everything changed for Coltrane in 1957 when, as he wrote in the liner notes to his defining album, A Love Supreme, he "experienced, by the grace of God, a spiritual awakening which was to lead me to a richer, fuller, more productive life." During that year, Coltrane stopped drinking and kicked heroin, and from that point forward, his career would unfold with an almost frightening amount of focus and intensity. These final 10 years are when Coltrane made his mark on the world of jazz as a leader, and he was then seemingly always on the move, in transition, each moment glimpsed as a blur on a continuum rather than a fixed point in space. He wasn't just covering ground, he was accelerating, and every phase of his later career has the attendant feeling of stomach-dropping free-fall, of being pushed forcefully into new places.

A Love Supreme, recorded with what was later called his classic quartet, is Coltrane's musical expression of his 1957 epiphany. It's the sound of a man laying his soul bare. Structured as a suite and delivered in praise of God, everything about the record is designed for maximum emotional impact, from Elvin Jones' opening gong crash to the soft rain of McCoy Tyner's piano clusters to Coltrane's stately fanfare to Jimmy Garrison's iconic four-note bassline to the spoken chant by Coltrane—"a-LOVE-su-PREME, a-LOVE-su-PREME"—that carries out the opening movement, "Acknowledgement". By the time the record gets to the closing "Psalm", which finds Coltrane interpreting on his saxophone the syllables of a poem he'd written to the Creator, A Love Supreme has wrung its concept dry, extracting every drop of feeling from Coltrane's initial vision. It's as complete a statement as exists in recorded jazz. Hearing it now as part of this exhaustive 3xCD set, which gathers every scrap of material recorded during the sessions as well as a live performance of the suite from later the same year, you get a clearer sense than ever before of the different forms A Love Supreme might have taken, and how Coltrane's desire to communicate something specific and profound led to its final shape.

A Love Supreme is also one of the most popular albums in the last 60 years of jazz, selling the kind of numbers usually reserved for pop (it quickly sold more than 100,000 copies, and has almost certainly sold more than a million since). If Miles Davis' Kind of Blue is the most frequently bought first jazz album for those curious about the genre, A Love Supreme is easily number two. But though they were released just seven years apart, there's a world of difference between the two records, and the success of A Love Supreme is trickier to explain. For all its structural daring, Kind of Blue also functions as an ambient record, with slower tempos and a late-night vibe. A Love Supreme is harder to get a handle on. If you can think of Coltrane's work on a continuum, from the gorgeous melodicism of "My Favorite Things" or Ballads or his album with Duke Ellington on one end and the brutal noise assault of the 1966 concerts collected on Concert in Japan on the other, A Love Supreme sits perfectly at the fulcrum, challenging enough to continually reveal new aspects but accessible enough to inspire newcomers.

Coltrane may have structured the record for just this effect. He had already been further "out" than the music heard on A Love Supreme, including some of the knotty extended jams like "Chasin' the Trane" recorded at his 1961 sessions at the Village Vanguard. He was fascinated with the innovations of Ornette Coleman from the minute he heard them in the late '50s, and though he never completely abandoned chord changes, he regularly flirted with atonality, improvising outside of a fixed key. With A Love Supreme, it was almost as though Coltrane knew he had to dial things back a little in order to share his message of spiritual rebirth with a wider audience. Though conventionally beautiful in many ways, A Love Supreme is, for many, the exact point beyond which jazz becomes too experimental.

It's possible to hear on this set how the album might have gone even further. At a time when a single track might have a dozen collaborators working on it over the course of weeks, it's a little mind-boggling to consider that the music on A Love Supreme was recorded on a single day, December 9, 1964. This wasn't uncommon for jazz records of the time. But though they had the music in the can from that first day, Coltrane wanted to try something else. So on December 10, he called the young tenor saxophonist Archie Shepp, and a second bassist, Art Davis to play with his quartet. The six musicians then ran through two versions of A Love Supreme's opening "Acknowledgment", so that Coltrane could explore what the music might sound like with another horn and additional low-end rhythm. Shepp was an up-and-comer deeply influenced by Coltrane; the two takes of "Acknowledgment" featuring Shepp find him serving as a kind of textural counterpoint, his more brittle and biting tone commenting on the melody from an oblique angle and hinting at possibilities existing outside of the version recorded the day before. You sense a more abrasive road not taken, one that almost certainly would have found a smaller audience.

We hear a different perspective on the fantastic live version of the suite recorded in France five months after the album's release. Five months in '60s Coltrane time was like a decade in the career of other jazz musicians, and he was already imbuing the A Love Supreme material with an extra intensity. Tyner's clanging chords on "Resolution" have a harsher edge, and Coltrane's attendant soloing is much rougher and more pointed, his notes seeming to attack the structure of the composition from several directions rather than floating along above it. This is the hard-blowing sound that Coltrane would show on Meditations, another spiritually focused album-length suite recorded later in 1965 that never had a chance at A Love Supreme's level of mainstream acceptance.

In the same year, Coltrane would also record Om and Ascension, two harsh and challenging pieces of music that strain against the boundaries of what most people would even consider music. Given what surrounds it, and how sweet and gentle it so often is, A Love Supreme was an expression of a very specific time and place, a conscious attempt by Coltrane to communicate something to his audience that was broad enough to be understood but rich and complex enough to honor both where he was as a musician and the depth of the subject matter. A Love Supreme sounds like nothing else in John Coltrane's discography, and indeed like little else in recorded jazz, sitting at the nexus of so many competing musical ideas.

The final piece of the A Love Supreme equation concerns the civil rights movement and black liberation, and how those swirling ideas were inextricably tangled up with the jazz avant-garde.  Coltrane was never overtly political, but he did allow his thoughts and feelings to bleed into his music. Coltrane met Malcolm X, wrote a piece for Martin Luther King Jr., and his 1963 dirge "Alabama", a piece with a close tonal connection to A Love Supreme's "Psalm", was written to commemorate the four girls killed in the Birmingham church bombing that year. As the '60s wore on, politically conscious "fire jazz" grew in currency, much of it directly inspired by Coltrane's music, but during his life he never quite felt the need to connect his music to specific social currents, even as others drew inspiration from it in that context. Coltrane was seeking something broader, communing with God as he understood it.

For Coltrane, that spiritual journey led him to A Love Supreme, which became the base he'd explore from during his short time left on Earth. Coltrane occupies a unique position in jazz history. He was famous, especially in the jazz world, but he wasn't really a personality. He was not inclined toward interviews and he wasn't very good at them, preferring to let the music speak for itself. He didn't have the mystery of a Thelonious Monk, the tragic genius of a Charlie Parker, the cool comfort with celebrity or flamboyance of a Miles Davis, the combative verbal dexterity of Charles Mingus, the theoretical underpinnings of Ornette Coleman, the comfort with the mainstream of Louis Armstrong, or the symbolic stature of Duke Ellington. He led a quiet life, putting everything into his music.

His chaotic years mostly came when he was an unknown; by the time he was a major jazz figure, almost his entire life was music. If he wasn't on stage or in a recording studio, he was practicing or studying records. Seemingly every other story of an encounter with Coltrane in the 1960s involved him in a room with a saxophone in his hand, playing scales. In his mind, God had saved him, and he was going to give back. A Love Supreme was his expression of gratitude, a hopeful prayer for a better world.' -Mark Richardson

The Original Stereo Album, Impulse! AS-77
1-1 Part I - Acknowledgement [Vocals – John Coltrane] 7:42
1-2 Part II - Resolution 7:20
1-3 Part III - Pursuance 10:41
1-4 Part IV - Psalm 7:05

Trane's Original Mono Reference Masters
1-5 Part III - Persuance 10:42
1-6 Part IV - Psalm 7:02

Quartet Session: December 9, 1964
2-1 Part I - Acknowledgement Vocal Overdub 2 2:00
2-2 Part I - Acknowledgement Vocal Overdub 3 2:05
2-3 Part II - Resolution Take 4 / Alternate 7:25
2-4 Part II - Resolution Take 6 / Breakdown 2:13
2-5 Part IV - Psalm Undubbed Version 6:59

Sextet Session: December 10, 1964
2-6 Part I - Acknowlegement Take 1 / Alternative 9:24
2-7 Part I - Acknowlegement Take 2 / Alternative 9:47
2-8 Part I - Acknowlegement Take 3 / Breakdown With Studio Dialogue 1:26
2-9 Part I - Acknowlegement Take 4 / Alternative 9:04
2-10 Part I - Acknowlegement Take 5 / False Start 0:34
2-11 Part I - Acknowlegement Take 6 / Alternative 12:33

Live At Festival Mondial Du Jazz Antibes, July 26, 1965
3-1 Introduction By M.C. André Francis 1:13
3-2 Part I - Acknowledgement 6:12
3-3 Part II - Resolution 11:37
3-4 Part III - Pursuance 21:30
3-5 Part IV - Psalm 8:49

" A Love Supreme " originally released in 1965.