Jamaica

Considering how iffy the world of reggae reissues can be, Original Music has repeatedly done itself a disservice by not taking the extra step that would separate the label from all the charlatans and ripoff artists. Original Music could have a Blood & Fire or Soul Jazz-sized reputation if it only provided substantial liner notes, but even without the history lesson, its King Tubby on the Mix, Vol. 1 collection is worth any reggae fanatic's attention -- and it won't disappoint the casual fan of early-'70s roots and/or dub, either. Included within are sides King Tubby engineered and mixed for producer Jah Woosh at the Channel One studio. For every song the vocal cut is provided along with the dub, while legendary house bands like the Aggrovators and the Revolutionaries provide the backing tracks. Vol. 1 features Delroy Wilson's excellent and upbeat cry for more "Money" and Roman Stewart's cool take on the Beatles' "You Won't See Me," along with Woosh's own uplifting "Jah Is the Ruler." As far as the dubs, Original Music has done a wonderful job bringing out the deep bass and warm, expansive reverb Tubby recorded, all without sacrificing the intended rough spots. The only thing left to complain about is how the great DJ version of "Scarpion Granny" doesn't get a mention on the outside packaging, since it deserves much better than "hidden track" status. -AllMusic Review by David Jeffries

Volume 1:
1. The Symbals - Motherless Children 3:16
2. King Tubby - Motherless Children (Dub Version) 3:34
3. Jah Woosh - Jah Is The Ruler 3:30
4. King Tubby - Ruling Dub 4:06
5. Delroy Wilson - Money 4:04
6. King Tubby - Money Dub 3:58
7. Roman Stewart - You Won't See Me 4:06
8. King Tubby - You Won't Dub 3:39
9. Errol Holt - Fly Your Locks 3:02
10. King Tubby - Fly Your Dub 3:03
11. Nico Demous - Scarpion Granny 4:19
12. King Tubby - Scarpion Granny (Dub Version) 4:12

Considering how iffy the world of reggae reissues can be, Original Music has repeatedly done itself a disservice by not taking the extra step that would separate the label from all the charlatans and ripoff artists. Original Music could have a Blood & Fire or Soul Jazz-sized reputation if it only provided substantial liner notes, but even without the history lesson, its King Tubby on the Mix, Vol. 2 collection is worth any reggae fanatic's attention -- and it won't disappoint the casual fan of early-'70s roots and/or dub, either. Included within are sides King Tubby engineered and mixed for producer Jah Woosh at the Channel One studio. The vocal cut is provided along with the dub for every track save the Morwells' "Know Yourself," which only gets the vocal treatment, while legendary house bands like the Aggrovators and the Revolutionaries provide the backing tracks. Vol. 2 features the Heptones' applying their sweet harmonies to the breakup number "Who's Fooling" and Junior Byles uplifting the youth on his righteous "Know Where Yu Going," plus the Morwells' cut, which makes for a perfect closer. As far as the dubs, Original Music has done a wonderful job bringing out the deep bass and warm, expansive reverb Tubby recorded, all without sacrificing the intended rough spots. AllMusic Review by David Jeffries

Volume 2:
1. The Symbals - The Human Race 3:21
2. King Tubby - Human Dub 3:39
3. The Heptones - Who's Fooling 3:20
4. King Tubby - Who's Dub 3:16
5. Junior Byles - Know Where Yu Going 2:54
6. King Tubby - I Know Dub 2:55
7. Reggae George - Reggae Collie 3:47
8. King Tubby - Collie Dub 4:09
9. Leroy Smart - This Love 3:23
10. King Tubby - This Love Dub 2:17
11. The Morwells - Know Yourself 3:42

Spanish Harlem

Awesome new installment in the essential 'El Barrio' series of compilations from the great Fania salsa label. Fania is to salsa as Motown is to soul or Studio One is to reggae and this compilation picks fifteen killer tracks from the Fania 'family' of labels that included Tico and Allegre. There's a good mixture of 'classic' tracks alongside well chosen obscurities from some of the rarer releases. Explosive New York latin music that incorporates elements of soul and rock from the 1960s and 1970s with intense percussion, fiery singing, and explosive horns. Highly recommended!

The second volume of street-level Latin crossover from the Fania vaults isn't a simple cash-in to lure those who bought the first volume. Compiler Dean Rudland spent some serious time sifting through the tapes and digging up a few unreleased tracks, including the delicious slow grind of Ray Barretto's extended opener "O Elefante." Compared to the first volume, this is less concerned with the gangster wing of Latin music and more involved with soul and consciousness-raising crossover material. The disc balances groove-laden salsa from Eddie Palmieri and Tito Puente with tracks from Jimmy Sabater, Ralfi Pagan, Joe Bataan, and Orchestra Harlow (the latter with a stirring call-to-action titled "Rise Up"). What none of these tracks miss, however, is the groove, which shows up everywhere, from Tito Puente's excellent percussive workout "Safari" to the highly orchestrated cover of "Crystal Blue Persuasion" by Bataan. And despite the occasional moralizing, there's still plenty of fun in evidence from covers of "Here Comes the Judge" by Pete Rodriguez and "Me and My Monkey" by Orchestra Harlow. (Rudland even managed to choose the rare Ralfi Pagan track that's not sickly sweet.) To cap it off, the sound quality on these tracks is at an all-time high. -AllMusic Review by John Bush

More Barrio blockbusters; another episode of vanishing NYC
Walking the streets of Spanish Harlem before New York got sanitised, it was possible to be assaulted by a panoramic barrage of street music, with Latin percussion and scorching brass the mainstay. In the 70s, Fania’s musicians were taking notice of popular styles such as militant soul, post-psych rock and superfly jazz-laced funk. This second volume of gems from Fania’s amazing catalogue illustrates this widening of influences, such as the English-sung protest vocals on Larry Harlow’s atmospheric Rise Up, while Jimmy Sabater’s Times Are Changing plants Sunshine Of Your Love riffing over fiery blaxploitation funk. Santana’s contribution to this uprising is represented by Pete & Louie’s rootsy rendition of Evil Ways. Highlights include a stunning previously-unreleased Latin soul outing from Ray Barretto called O Elefante, and Joe Bataan, later one of the city’s earliest hip-hop producers, tackling Tommy James’ Crystal Blue Persuasion. The Technicolor Latin-funk of Willie Colon’s MC2 (Theme Realidades) is another. Tito Puente’s Safari represents the more traditional sound, but The Fania All Stars explode and, by the cool street coda of Ralfi Pagan’s Rat Race, it’s beautifully apparent that, for this brief spell, a unique cross-pollination was happening, which has sadly been cleaned up, along with its spawning ground.

1. Ray Barretto - O Elefante (Full Length Version) 4:36
2. Jimmy Sabater - Times Are Changing 3:09
3. Orchestra Harlow Featuring Ismael Miranda  Rise Up 4:43
4. Roberto Roena And The Apollo Sound - Consolacion 3:27
5. Tito Puente - Safari 5:05
6. The New Swing Sextet - Revolucionado 2:57
7. Eddie Palmieri - Chocolate Ice Cream (Helado De Chocolate) 6:15
8. Pete And Louie - Evil Wars 3:51
9. TNT Boys - Musica Del Alma 3:36
10. Joe Bataan - Crystal Blue Persuasion 3:19
11. Willie Colon - MC2 (Theme Realidades) 3:42
12. Fania All Stars - Smoke 4:04
13. Pete Rodriguez - Here Comes The Judge 2:49
14. Al Escobar - Ape Walk 2:56
15. Ralfi Pagan - Rat Race 2:48

Joe Bataan and his band at Franklin Plaza in Spanish Harlem
Notes
Track 1: Previously unreleased version from 'The Message' / Fania F 403
Track 2: From the LP Solo / T 1190
Track 3: From the LP 'Abran Paso' / Fania F 396
Track 4: From the LP 'Roberto Roena Y Su Apollo Sound' / Fania F 383
Track 5: From the LP 'El Rey' / Tico T-1172
Track 6: From the LP 'Revolucianado' / Cotique C 1050
Track 7: From the LP 'Super-Imposition' / Tico T-1194
Track 8: Previously unreleased 1970 recording
Track 9: From the LP 'Sex Symbols' / Cotique C 1038
Track 10: From the LP 'Singing Some Soul' / Fania F 375
Track 11: From the LP 'The Good, The Bad and The Ugly' / Fania F484
Track 12: From the LP 'Latin-Soul-Rock' / Fania F 470
Track 13: From the LP 'Hot and Wild' / Alegre A 8650
Track 14: From the LP 'The Modern Sounds Of' / Tico T 1184
Track 15: From the LP ' I Can See' / Fania F 488

Jamaica

Strictly rocking no question

Two albums from 1979 / 80 released on one CD for the first time.

A superb collection of the great Linval vocals. Not all the backing tracks were self produced, some have been licensed from Niney, Jammy etc. A must have for all disciples of the late 70's Reggae sounds, you'll have fun identifying the original pieces. -ital

Linval Thompson
Real Name:
Leval Thompson
Profile:
Jamaican reggae and dub musician and record producer. Born 12 October 1954, Kingston, Jamaica. Thompson was raised in Kingston, Jamaica, but spent time with his mother in Queens, New York, and his recording career began around the age of 20 with the self-released "No Other Woman," recorded in Brooklyn, New York. Returning to Jamaica in the mid 1970s he recorded with Phil Pratt, only to return to New York to study engineering. Returning again to Jamaica, he worked with Lee "Scratch" Perry at his Black Ark studio, recording "Kung Fu Man", and recorded with Bunny Lee, which resulted in his debut album, Don't Cut Off Your Dreadlocks, in 1976. Thompson began to produce his own material, the first fruits being the Trojan album, I Love Marijuana (1978), and its dub counterpart Negrea Love Dub. Although he continued to work as a singer, he became increasingly prominent as a producer, working with key artists of the late roots and early dancehall era such as Dennis Brown, Cornell Campbell, The Wailing Souls, Barrington Levy and Trinity, with releases through Trojan Records as well as his own Strong Like Sampson and Thompson and Koos record labels. 

Thompson's productions were used as the basis of some of Scientist's best-known dub albums. He has also produced albums for Eek-A-Mouse, Freddie McGregor, Tristan Palmer and The Viceroys.

Rocking Vibration
1. Rockin' vibration Got Together 3:20
2. Black Woman 3:59
3. Freedom Fighter 3:26
4. I Got to Have You 2:48
5. Superstar 3:24
6. More Power 4:27
7. No More Problems 3:41
8. No Confusion 3:05
9. Dangerous Position 4:17
10. Rasta Children 3:33
Love Is The Question
11. Love Is the Question 3:12
12. My Girl 3:39
13. Africa Is for Blackman 3:36
14. Dreader Than Dread 3:57
15. I the Cheater 3:53
16. Love for Peace 4:03
17. My Love 4:40
18. Girl You Are a Cheater 3:55
19. Natty Is a Righteous Man 2:40

Puerto Rico

"The Ansonia Years" gathers the best recordings made by Rafael Cortijo, one of the major Puerto Rican figures of Latin music, for Ansonia Records during 1969 and 1971. Taken from the albums "Noche de temporal", "Ritmos y cantos callejeros" and "Volumen 2", he is accompanied by other key artists such as Kako, Chivirico, Ismael Rivera and Javier Vazquez. As a street musician and band director, Cortijo took Afro-Puerto Rican traditions to the most prestigious Latin ballrooms of the period, making him the architect of an Afro-Caribbean and Puerto Rican salsa style, coming from the street corner but different from the New York tradition. He was a cultural hero who brought a host of dazzling nuances to his three recordings on the Ansonia label. Most tracks reissued for the first time.

On May 7, 1970, Rafael Cortijo met a group of lifelong friends in New York City to embark on a musical journey back to his Afro-Caribbean roots. For the first time ever in a recording venture, the famous Puerto Rican percussionist, leading ambassador of bomba and plena music since the '50s, decided to express the raw essence of his repertoire of island rhythms, stripping them of orchestration with the idea of recreating in the studio the drumming fiestas he'd enjoyed as a boy in the Santurce neighborhood of San Juan, Puerto Rico. He was accompanied by fellow percussionist (and partner on this production) Francisco "Kako" Bastar and singers Rafael "Chivirico" Dávila (lead vocals) and Ismael Rivera (chorus), the outstanding artists of Latin music at that time, who had also grown up with Cortijo in the streets of San Juan. The result of this legendary session was the 1970 album Ritmos y Cantos Callejeros by Cortijo y Kako y Sus Tambores, an essential contribution to the sonorous vitality and sense of identity that preceded the salsa boom in New York and the Caribbean. While a new generation of immigrants of Latin origin, mostly Puerto Ricans, took their drums to Central Park and out onto the streets of the Bronx to make their way in New York, Cortijo and his friends chose to reclaim the immense wealth of their Puerto Rican drumming heritage, as well as the link between this legacy and popular music of the day. Yet Cortijo was hardly a folklorist; he always adopted an approach more pragmatic than orthodox, and on Ritmos y Cantos Callejeros, as on all of their bomba and plena recordings, Cortijo and Kako use mostly Afro-Cuban percussion instruments (congas, timbales, and bongos), which they considered more suitable than their Puerto Rican equivalents such as traditional bomba barrels and plena panderos. Cortijo recorded two more LPs between 1969 and 1971, Noche de Temporal and Volumen 2; all three were released on the Ansonia label. Noche de Temporal and Volumen 2 emphasize the dialogue between Puerto Rican and Cuban styles, with the outstanding participation of the Cuban musician Javier Vázquez, first known as the pianist for La Sonora Matancera, and then as one of the leading arrangers for the salsa produced in New York in the '70s. The Ansonia Years gathers the best recordings from this trio of albums, with most tracks reissued here for the first time.

1. Chiviriquitón - Cortijo y su Combo, Kako y sus Tambores & Chivirico Dávila y el coro callejero 2:41
2. Echando un Pie - Cortijo y su Combo, Kako y sus Tambores & Chivirico Dávila y el coro callejero 2:43
3. ¿quién Fue el Primero? - Cortijo y su Combo & Johnny Vega 2:53
4. Tele Tele Ya - Cortijo y su Combo & Chivirico Dávila 2:42
5. La Madama - Cortijo y su Combo, Kako y sus Tambores & Chivirico Dávila y el coro callejero 2:27
6. Alegría Bomba Es - Cortijo y su Combo, Kako y sus Tambores & Chivirico Dávila y el coro callejero 2:41
7. Amanecer Borincano - Cortijo y su Combo & Johnny Vega 2:28
8. Qué Linda Te Ves - Cortijo y su Combo & Johnny Vega 2:55
9. Tú y Tu Guarapo - Cortijo y su Combo & Johnny Vega 3:02
10. Yo No Bailo Con Juana - Cortijo y su Combo, Kako y sus Tambores & Chivirico Dávila y el coro callejero 2:36
11. A la Verdegué - Cortijo y su Combo, Kako y sus Tambores & Chivirico Dávila y el coro callejero 3:05
12. Te Va a Gustar - Cortijo y su Combo & Chivirico Dávila 2:44
13. El Negrito Bailador - Cortijo y su Combo & Chivirico Dávila 2:25
14. Las Ingratitudes - Cortijo y su Combo, Kako y sus Tambores & Chivirico Dávila y el coro callejero 2:48
15. Dorotea - Cortijo y su Combo & Johnny Vega 2:35
16. Dudando - Cortijo y su Combo & Chivirico Dávila 2:58

Suriname

'Kulembanban' (meaning fowl from the rain forest, but also the cry of distress from someone lost in the jungle)

The legendary tenor saxophone player KID DYNAMITE (1911-1963).

The father of modern Afro-Surinamese music. Born in Suriname, Kid Dynamite became one of The Netherlands' most colorful jazz musicians. Blending American jazz, Surinamese kaseko and calypso from Trinidad, he earned high respect from fellow musicians for his distinct style. His performances were never officially released on record, leaving behind a legacy mainly in the form of written compositions and lyrics.

Quick to laugh, smartly dressed and holding a golden Conn tenor saxophone to his mouth; dancing Amsterdam thought Kid Dynamite to be an American jazz musician. But the man who made the Zeedijk swing in the 1940s and 1950s, was born in Suriname. His name was Lodewijk Rudolf Arthur Parisius, and he came to The Netherlands as a stowaway in the late 1920s. Lodewijk wanted to become a baker, but turned out to be one of the most colorful jazz musicians ever in The Netherlands. Besides his exhilarating part in pre-war jazz, Kid Dynamite was mainly praised by fellow musicians for his distinct style: a mixture of American jazz, Surinamese kaseko, Brazilian samba and calypso from Trinidad. "After him, I've heard some fairly good attempts to play fusion music, but they really paled compared to Kid's", says trumpeter Ado Broodboom, who performed with him in Club Casablanca at the Zeedijk in the 1950s.

Arthur Parisius is the real name of the legendary tenor saxophonist, who acquired the stage name 'Kid Dynamite' due to his explosive performances. Kid was born in Surinam in 1911 and emigrated to the Netherlands in the late twenties of the last century. During the thirties he developed into a versatile musician with a great passion for jazz music. In addition he was blessed with a good singing voice and was an excellent percussionist. He became the first prominent Afro-Surinam tenor saxophonist, who was respected by many colleague-musicians. When the great Coleman Hawkins heard him play for the first time, he said "tell the people, this guy is alright". Later they would make music together and Kid considered Hawkins to be his musical father.

After the war he became a renowned musician in the club Casablanca in Amsterdam, where the crowds queued up to hear him play. In those days his performance was sometimes compared to that of Sonny Rollins. Yet when Dynamite died in a car accident in Germany in 1963, he had practically been forgotten due to the rise of pop music. In the early eighties he was rediscovered by several jazz lovers and by a new generation of Surinam musicians in the Netherlands. 

The film was shot in Surinam and the Netherlands and tells the life story of Kid Dynamite, father of the Afro-Surinam jazz, using testimonies of people who knew him or played with him and archive photographs and films. In the course of this, the only existing moving images of Kid Dynamite playing, have been dug up. In Kid Dynamite's compositions, for which he personally wrote the lyrics, one can hear how powerfully his music is influenced by his Surinam roots: the rhythms and lyrics are imbued with the mystical winti religion. Winti also plays an important role in the secret that he carried with him all his life and that developed into a musician's myth at the end of his life. The serpent, as a carrier of spirits, plays an important part in the myth. Significantly, we hear Kid Dynamite announce one of his own pieces of music in the film using the following words: "The winti-dansi is a dance that is performed near a large fire and during which the serpent is honoured". In the film, the secret of the serpent, that he was so intrigued by, is divulged and unique images are shown of an authentic winti gathering, during which people go into a trance. 

In the film his music can be heard again, not only by means of authentic old recordings that have survived but also performed by young Surinam musicians conducted by composer and bass player Vincent Henar, leader of the prominent Afro-Surinam jazz ensemble Fra-Fra Sound. Kid Dynamite's 'musical voice' on the tenor saxophone is expressed by the saxophonist and flute player Wilgo Telting who lives in Paramaribo. His Surinam band 'Time Out' has scored success for years now in the Caribbean and can be seen and heard every week at sessions in the club 'Rumours' in the Surinam capital.

Kid Dynamite & His Bonanza Boyz - Surinam Jazz (one-sided LP)

Rare hipster jazz from Surinam recorded for Radio Holland in the '50s. This one-sided handmade picture disc is limited to 35 copies only, so order fast!

A wicked blend of sharp rhythms and soulful tenor sax – pulled together here from recordings that were originally done for Dutch radio in the 50s, and feature a very cool group. Kid Dynamite's got a snakey sound on his saxophone that's very different than both players in a more familiar Latin or Caribbean mode – and the other rhythm, piano, and bass players in the group often step back a bit, and let his reeds take center stage and direct the action – even on one title that features some nicely-sharp flute. The recordings are quite obscure, but a really wonderful criss-crossing of rhythms and jazz – on titles that include "Kulembanban", "Badji Maina", "Winti Dance For The Snake", "Mampira", and "Mungo Man Rumba". (Hand-numbered limited edition of 35. Music on one side, and the featured image on the other.) 

1. The Collegians - New Street Swing (1939)
2. The Collegians - Nightfall (1939)
3. Kid Dynamite - Pimba Dotty (1956)
4. Orchestre Rico Fernandez met Kid Dynamite  - Tequilla (1959)
5. Orchestre Rico Fernandez met Kid Dynamite  - Chella Chella (1959)
6. Kid Dynamite en de Bonanza Boys zang Lou Hidalgo - Kulembanban (1959)
7. Kid Dynamite en de Bonanza Boys zang Lou Hidalgo - De Winti-Dansi (1959)
8. Kid Dynamite en de Bonanza Boys zang Lou Hidalgo - Badji Maina (1959)
9. Kid Dynamite en de Bonanza Boys zang Lou Hidalgo - Mungo Man (1959)
10. Kid Dynamite en de Bonanza Boys zang Lou Hidalgo - Mampira (1959)
11. Kid Dynamite met orkest o.l.v. Juan Porteno - Banana Boat Song (1957)
12. Kid Dynamite met orkest o.l.v. Juan Porteno - Marianne (1957)
13. Kid Dynamite met orkest o.l.v. Juan Porteno - Mij Duik Met Mijn hoofd (In Een Vaatje Met Rum) (1958)
14. Maria Zamora - Sranang Kondre (1958)
15. Los Hijos Del Sur - Jeruzalem (1960)
16. Fra Fra Sound - Kulembanban (2004)
17. Fra Fra Sound - Brokopondoplan (2004)
18. Fra Fra Sound - Fa Mi De Go Du (2004)
19. Fra Fra Sound - Tingeling (2004)
20. Fra Fra Sound - Rockin' Chair Dream (2004)

Jamaica

The highest heights of 60's nyabinghi music from the drums of Ras Michael aka. King Negus. 15 tracks of glorious, devotional Rastafarian hymns of praise originally released on rare Zion Disc singles in extremely limited pressings and never before available outside of Jamaica.

"Let Africa be our guiding star, our star of destiny" - Marcus Mosiah Garvey. 

In 1967 Ras Michael began to play occasional recording sessions for Clement 'Coxsone' Dodd with Jackie Mittoo and Soul Vendors at Studio One. Instead of getting paid for his work Ras Michael requested studio time for recordings for his own Zion Disc productions as the Sons Of Negus. 7" releases on Zion Disc in 1967 and 1968, included 'A Psalm Of Praises To The Most High', 'Come Down', 'King's Highway' to name a few, and all were unequivocal in form and content. The records did not trouble charts and none were released outside of Jamaica, making them very hard to find.

“Like reggae is a vision. Reggae is the word that hits at the heartstrings the mind can’t control. I and I get the message of Rastafari out through reggae. It is the black music line of message to the world. It is the black Rastaman line of message to the world. It is the metaphorical Black Star Line…” Ras Michael 

1. Run Come Rally 0:18
2. Zion We Want To Go 3:13
3. Ethiopian National Anthem 3:06
4. All Ye Saints 3:11
5. Come Down 3:09
6. Lion Of Judah 2:54
7. Take Your Bible And Read It 2:55
8. Run Agressors Run 2:57
9. Volunteer Ethiopians 2:37
10. A Psalm Of Praises To The Most High 3:20
11. Rejoice 3:03
12. Salvation 3:17
13. King's Highway 3:01
14. Time Is Drawing High 2:48
15. There Is A Green Hill Far Away 3:03

Caribbean

Whether purely instrumental or with a chorus, each of these recordings manages to capture the spirit of the English, Spanish, and French speaking Caribbean. Many of the recordings are of dance music as music and dance are commonly linked in Caribbean cultures. Representing fifteen countries this collection speaks to the vibrant nature of the West Indies where even a song like “Nous Allons Dodo” or “We’re Going to Sleep” is anything short of a lullaby. (FW)

It's an incredibly diverse collection, which makes sense because the definition of "Caribbean country" is stretched really far here. But I think that variety works given the Caribbean's kaleidoscopic cultural mix. It feels like a natural, logical choice and the European, African, Latin and North American influences all blend together beautifully. -stereobread

1. Trulla de Navidad (Christmas Rush) 2:05
2. Baquiné 3:18
3. Arada Dance 2:23
4. Kumina Dance 2:12
5. Heel and Toe Polka 1:27
6. So Them Bad Minded (Calypso) 2:10
7. Stickman (Calypso) 2:15
8. Old Calypso 2:55
9. Bélé Dance Song 0:56
10. Seven Step 3:03
11. Bamboula Dance 1:16
12. Lapli Tombé 1:22
13. Down into the Village Sammy Rider 2:44
14. One Bright Summer Morning 2:25
15. Song to Chango 2:42
16. Balilé (Give Him Room) 3:54
17. Fignolé 5:43
18. Nous Allons Dodo 1:34
19. Un Soir 2:10
20. Afeduani 2:39
21. Serenade 3:10
22. Ba Anansi (Brother Anansi) 3:17
23. Mazurka 2:51
24. Vals Guadaloupienne 1:06
25. Aura Waltz 3:10
26. Corrido de Pancho Villa 3:22

Notes
Country(s)
Bahamas; British Virgin Islands; Cuba; Grenada; Guadeloupe; Haiti; Honduras; Jamaica; Martinique; Mexico; Puerto Rico; Suriname; Trinidad and Tobago; Venezuela
Harold Courlander - Producer
Year released: 1960

Thailand

Wild and Rockin' 60's Sounds From the Land of Smile! If you dug the highly popular Cambodian Rocks comps, you'll go crazy over the new Thai Beat A Go-Go series! Incredible and ultra rare recordings from Thailand in the 1960s. There is a lot of work and effort behind these comps and they have taken a long time to compile. Records with Thai 60s rock bands are incredible hard, if not impossible, to find as there is no Thai tradition of saving native artifacts from the 1960s. The amazing Thai Beat A Go Go Vol 1, which concentrates on red hot Thai curry rock n roll, includes cosmic instro surf bands, mad garage/beat bands, mystic go-go organ/wild guitar rave-ups, exotic female singers, extreme sensuality and emotions, surreal and groovy, all with a totally otherworldly Thai flavor. Experience the blossoming Bangkok night club scene with the exotic bar and lounge go-go bands! These recordings have a sound that's completely inexplicable despite the use of standard rock instrumentation and song structures combining a fascinating and primal version of rock n roll, surf, r 'n' b- sometimes all in one song.

1. Johnny's Guitar - Kratae 2:56
2. Payom Moogda - Tamai Dern Sae (Why Do You Walk Like A Drunkard) 2:39
3. Vichan Maneechot - Dance Dance Dance 2:40
4. Sodsai Chaengkij - Shake Baby Shake 2:48
5. The Cat - Meow 2:02
6. Starlights - Day Tripper 3:11
7. Johnny's Guitar - Bangsaen '66 2:08
8. Der Dong Dang - Yipmerdai 2:23
9. The Son Of P.M. - Boongatanyon 2:04
10. Payom Moogda - Loomsiah 2:42
11. The Viking Band - Phom Rak Khoon Tching Tching (I Really Do Love You) 3:08
12. The Son Of P.M. - James Bond Theme 2:04
13. The Cat - Do The Watusi 3:01
14. Louise Kennedy - Poo Yai Lee 4:10
15. Johnny's Guitar - Supannahong 2:33
16. Silver Sand - Kaw-Liga 3:08
17. Johnny's Guitar - Klongyao 3:10
18. Paiboon - Yom Pha Barn Norn Pahwaa (Satan's Nightmare) 2:27
19. The Cat - Hit The Road Jack 3:05
20. Jiraphand Ong-Ard - Muay Thai 2:54

Groovy 60's Sounds from the Land of Smile!. If you dug volume 1 of Thai Beat A Go-Go, you'll go crazy over the new release in the Thai Beat A Go-Go series! Incredible and ultra rare recordings from Thailand in the 1960s. The amazing Thai Beat A Go-Go Vol. 2, concentrates on exotic female pop, go-go funk and rock vocal numbers, beat, psych and some very weird tracks, extreme sensuality and emotions, surreal and groovy, all with a totally otherworldly Thai flavor. Experience the blossoming Bangkok night club scene with the exotic bar and lounge go-go bands! There is a lot of work and effort behind these comps and they have taken a long time to compile. Records with Thai 60s-70s rock/pop a-go-go bands are incredible hard, if not impossible, to find as there is no Thai tradition of saving native artifacts from the 1960s.

1. Viparat Piengsuwan - Yok Yok (Jump Jump) 2:35
2. Surapon - Ding Dong 2:31
3. Viparat Piengsuwan - Rak Tong Rorn (Love Passion) 2:35
4. Waipot Petsuwan - Mia Chaa (My Darling) 3:16
5. Tuangchai Boonparaksa - Mahn Kao Lah (What Fun) 2:50
6. The Reasons - Shimmy Shimmy Ko Ko Bop 1:59
7. Sodsai Chaengkij - The Boat That I Row 2:29
8. Sakarin Boonpit - Kotmorn Yoop Yap (All Shock Up) 2:03
9. Jackatchan - Soo Kwarm Rak Khorng Phom Doo Dai (You Can See My Love) 3:16
10. Kabuan Moogda - Wairoon (Teenager) 4:05
11. Viparat Piengsuwan - Nai Teum (Cool Guy) 2:31
12. The Traces - Je T'aime Moi Non Plus 2:39
13. Suda Chuenbarn - Funky Broadway 2:36
14. Pairote - Tee Makhuea Pok (Your Cheatin' Heart) 3:12
15. Sodsai Chaengkij - Lady Madonna 1:39
16. T. Zchien & The Johnny - Let Your Life Be Free 3:44
17. Viparat Piengsuwan - Yim (Smile) 2:56
18. Chai Muansing - Pee Kow Pee Ork (Ghosts Come And Go) 2:55
19. T. Zchien & The Johnny - I Find Only Dream 2:20
20. Surapon Alias The Fox - Nang Maew Pee (The Ghost Of Catwoman) 3:28

Easily one of the best series of the recent worldwide archival explosion in '60s-and-after pop/rock, the Thai Beat A Go-Go discs had already made a big splash by the appearance of the third entry, further excavating rarities ranging from the fantastic to the bemusing. Liner notes and photos help give context to the selections while past favorites reappear with other cuts, but even if one knows nothing about anything on the disc, all that matters is playing it and enjoying the results. The basic principle of fusing Western pop approaches (and a number of full-on cover versions) with a variety of Thai musical keys -- from singing in Thai to backing arrangements to more besides -- lies at the heart of nearly every cut, and the joy lies in how readily and how different the results proved. Young singer Supaphorn gets two great numbers near the front -- "Cham Chai," a retake of "Hang on Sloopy," and the Troggs' "With a Girl Like You" aka "Lua Chan See." What's especially nice is hearing how readily R&B and soul arrangements in particular suit Thai singing -- Don's cover of the song "Sunshine Day" is a treat, the easygoing flow of the music matching with the gentle reverb on his voice, while funk acts like the Erawan Band and Flash (and, but of course, the Oriental Funk, with the Moog-led treat "Come Together") take some good bows. Then there's a winning take on Johnny Wakelin's "The Black Superman" by Duangdao Mondara, which while it can't beat the original keeps the celebratory bounce to match the sharp yet sweet delivery. The disco samplings toward the end of the disc are equally grand, with the contributions from the Moog-crazy band backing singer Panatda proving wonderfully insane. Then there's the stuff that's just mind-boggling, like the kiddie record "Heoow Sabat," according to the liner notes a song about a land of rabbits with suitably wacky enough vocals to befuddle most adults in any language. -AllMusic Review by Ned Raggett

1. Jiraphand Ong-Ard - Thai Boxing 3:04
2. Supaphorn - Cham Chai (Hang On Sloopy) 3:13
3. Don - Sunshine Day 3:16
4. Supaphorn - Lua Chan See (With A Girl Like You) 2:20
5. Erawan Band - Khon Muangkhan 3:13
6. Suda Chuenbarn - Jong Wai Korn 2:27
7. The Royal Sprites - Noom Rai Por (Evil Ways) 3:17
8. Sakarin Boonpit - Pee Lah (Heartbreak Hotel) 2:04
9. Duangdao Mondara & Chailai - The Black Super Man 3:45
10. Vimarn Naeramit - Heoow Sabat 1:21
11. Flash - Where Is The Love? 2:53
12. Oriental Funk - Come Together 3:52
13. Don - Soul Dracula 3:17
14. Panatda - Let's Go! 2:53
15. Panatda - Flash Disco 2:58
16. Chantana - Changwah Disco 2:23
17. Jiraphand Ong-Ard - Siamese Boxing 2:58
18. The Law & The Sandy - Paradise In Bangkok 2:28

In A Word: Salsational

An ace introduction to salsa music in all its brassy, undulating glory.

Fania is, bar none, the greatest Latin recording label of all time, the home of the most sparkling salsa and the boogiest boogaloo ever set down on a mold of wax barely able to resist melting from the heat. During its heyday, it hosted most of the best recordings by the biggest salsa stars of all time: Willie Colón, Hector Lavoe, Ray Barretto, Eddie Palmieri, Celia Cruz, Rubén Blades, Mongo Santamaria, and many others (even El Rey, Tito Puente, recorded frequently). But with the advent of dozens of compilations, from Fania and others, available in periodic waves during the last half of the 2000s, it's easy to forgive weary listeners who look at this compilation from the Strut label and ask, "What's the difference?" Of course, anyone who knows Strut knows that the label takes quality control to an insane level of detail, and this two-disc celebration of all things Fania is no different. First off, there's the sound. These tracks have never sounded better, not even from Fania itself, whether it's the tearing brass and pin-point bass of early hits like Joe Bataan's "Subway Joe" or the later, more sophisticated material from Celia Cruz (and yes, original masters were used). Also, while most of the hits are here, Strut clearly wanted to focus on the most propulsive numbers they could find, which is why listeners will discover two of the biggest Latin dancers of all time -- "Use It Before You Lose It" by Bobby Valentin and "Mercy Mercy Baby" by Ray Barretto -- front-loaded among these 30 tracks. Throughout, Strut tells the story of Fania via the label's musical progression, from its beginnings with Johnny Pacheco and his pachanga, its rebellious adolescence as it embraced street-level, Spanish Harlem-type toughness with upstarts like Willie Colón and others, finally its increasing sophistication (and experimentation) via the advent of the fully arranged salsa orchestra in the '70s (tracks here from Roberto Roena, Celia Cruz, and the act with no equal, Ismael Miranda leading Larry Harlow's Orchestra Harlow). As it should be, the focus is clearly on the Fania label, not the other labels that were independent during the '60s and '70s but brought under the Fania umbrella later. No caveats apply here, but strict historians should note that Strut's emphasis on dance affects the choices, but only slightly. Of all the Fania compilations put out, and they number in the thousands, Fania Records 1964-1980: The Original Sound of Latin New York is the one to own. What's more, of all the compilations of late-20th-century Latin music put out, this is also the one to own. -AllMusic Review by John Bush

Disc 1
1. Johnny Pacheco - Dakar, Punto Final 3:43
2. Orchestra Harlow - La juventud 3:12
3. Joe Bataan - Subway Joe 2:56
4. Ray Barretto - Mercy Mercy Baby 2:47
5. Bobby Valentín - Use It Before You Lose It 3:01
6. Willie Colón - The Hustler 6:33
7. Joe Bataan - Mambo de Bataan 4:47
8. Roberto Roena y su Apollo Sound - Consolacion 3:27
9. Ismael Miranda con Orchestra Harlow - Abran paso 3:31
10. Ricardo Ray & Bobby Cruz - Sonido Bestial 6:48
11. Willie Colón - Che Che Cole 3:30
12. Cheo Feliciano - Anaconda 4:13
13. Fania All Stars - Quitate tu (Live at the Cheetah) 9:57
14. Justo Betancourt - Pa' Bravo Yo 3:45
15. Ismael Miranda - Asi se compone un son 5:34

Disc 2
1. Ray Barretto - Indestructible 4:14
2. Willie Colón - Calle luna, calle sol 3:46
3. Roberto Roena y su Apollo Sound - Que se sepa 3:15
4. Bobby Valentín - Coco Seco 3:35
5. Celia Cruz & Johnny Pacheco - Quimbara 4:49
6. Tommy Olivencia - Pa'lante otra vez 5:49
7. Héctor Lavoe - Mi Gente 5:28
8. Mongo Santamaría - O mi shango 4:23
9. Sonora Ponceña - Bomba carambomba 5:11
10. Willie Colón & Rubén Blades - Pablo Pueblo 6:10
11. Héctor Lavoe - El cantante 10:23
12. Willie Colón & Rubén Blades - Pedro Navaja 7:23
13. Celia Cruz y La Sonora Ponceña - Sonaremos el tambo 4:30
14. Fania All Stars & Celia Cruz - Cuano despiertes 5:50

Jamaica

“You pick him up, you lick him down, him bounce right back,” sings Prince Buster on 1966’s Hard Man Fe Dead. The song is an ode to perseverance, but it’s also embedded in Jamaican culture and spirituality. His allusions to them make it hard not to see this tune as a musical representation of the island nation’s determination, a sung version of the patois saying “We likkle but talawah” – don’t underestimate; Jamaica is determined and refuses to ever give up.

With the "Al Capone" single soaring into the U.K. Top 20 in March 1967, a new Prince Buster album was not far behind, although anybody searching for the hit therein was in for a surprise. Chicago's favorite gangster was nowhere in sight; instead, Bluebeat reached back into the vault and not only hauled out Buster's other greatest hit, 1963's "Ten Commandments of Man," but also retrieved "Words of Wisdom," a chilling indictment of modern Kingston life, set to a ska-ified reinvention of the 23rd Psalm: "...poverty and hunger shall follow them all the days of their life, and they shalt fight with the landlord forever." One of Buster's most powerful yet sorely overlooked creations, "Words of Wisdom" virtually blueprinted the spiritual thrust of the entire roots movement, three full years before it was even formulated.

Less striking, but no less enjoyable, the remainder of the album skips through Buster's recent output, cherry-picking some of his finest 45s (including a terrific version of the Smokey Robinson classic "My Girl"), together with a clutch of songs that had hitherto lain unreleased outside of Jamaica. Among these, "I Won't Let You Cry" swings buoyantly along on a sea of astonishingly overstated backing vocals, while the British beat-meets-Motown "Answer Your Name" packs an irresistibly propulsive punch. A violin takes a most unexpected bow across the hauntingly tender "That's Saying a Lot," and Otis Redding's "Sad Song" gets a smart workout, but it's the title track that assures this album's classic status, a ragtime shuffle that lionizes the ultimate tuff gong rude boy, and which remains one of Buster's most accomplished compositions. -AllMusic Review by Dave Thompson

1. Ten Commandments 3:35
2. Moving Spirit 2:41
3. The Prophet 2:20
4. My Girl 2:20
5. I Won't Let You Cry 2:55
6. Answer Your Name 3:14
7. Hard Man Fe Dead 3:22
8. That's Saying A Lot 3:16
9. Words Of Wisdom 3:02
10. Sit And Wonder 2:48
11. Shanty Town 2:36
12. Thanksgiving 2:41

Uganda

Nyege Nyege Tapes is a Kampala based label exploring, producing and releasing outsider music from East Africa as well as showcasing international collaborations. For its first batch of releases the label is showcasing the electro-achoi sound coming from Northern Uganda, a compilation of the new beats scene from Dar Es Salaam Tanzania, and the first studio album of Uganda's legendary thumb piano player Ekuka, plus a few other surprises from Congo DRC and South Sudan.

The third releases on the label is the best of the batch; the first-ever international release by Otim Alpha. It features 11 fast-paced Electro Acholi versions of Larakaraka wedding songs from Uganda. Energy crew, your time!

'After launching in January, Uganda-based Nyege Nyege Tapes is already one of the coolest labels to surface on Bandcamp this year. Gulu City Anthems is the first widely released collection by Otim Alpha who has been blending traditional Acholi wedding music with modern electronics since the early 2000s. He calls it “electro acholi” and after this hour set you’ll be hooked.

Tracks such as ‘Anyomo label (Pailyec)’ and ‘Wilobo Lanyi’ are breathless, polyrhythmic workouts, but the album’s lighter moments feel just as valuable. ‘Cam Ki lawoti II’, ‘Coo oromo’ and ‘Agiki ne tye’ make a breezy, joyous trilogy anchoring the album’s back half with earworm synths that make Gulu City Anthems feel like a focused, definitive statement instead of just a collection of a career highlights. Follow this label all year – you will not be disappointed.'

1. Gang ber ki dako 6:27
2. Anyomo label (Pailyec) 6:04
3. Bilaber 6:05
4. Lok lobocwero cwinya 5:59
5. Too Wiye Ming 6:25
6. Toni G 6:34
7. Wilobo Lanyi 6:01
8. Coo oromo 5:00
9. Cam Ki lawoti II 5:50
10. Agiki ne tye 5:03
11. Kodi pa barikiya (kwan) 6:28

Zimbabwean vibes meet 808 drums

Much of our experiences with the club-focussed permutations of traditional African music have one thing in common: sampling. Whether it’s a call and response vocal, hand-held percussion or a marimba loop, those organic textures offer a powerful juxtaposition to the synthetic sounds we’re so familiar with in the realms of contemporary dance music.

The fact that Gary Gritness has turned his back on this method of work makes his collaboration with Jacob Mafuleni all the more intriguing. Returning to Nyami Nyami Records after assisting on their first release with Chiwoniso, the mbira maestro offers up two tracks that were recorded in Harare with his wife Martha Thom on vocals and traditional percussion ocho. Clone records affiliate Gary Gritness then harnesses the natural flow of the original arrangement and feeds it through his TR 808 drum machine, to create a minimal afro-techno fusion.

This natural and respectful collaboration resulted in two already classic ‘afro techno’ tracks Atuka Mhondhoro 808 and Chikoni 808.

Mbira – Jacob Mafuleni 
TR 808 – Gary Gritness 
Vocals, Osho – Martha Tom

1. Atuka Mhondoro 808 (Radio Edit) 3:41
2. Atuka Mhondoro 808 (Club Edit) 6:11
3. Chikoni 808 6:50

Bulgaria

In the 1960's, Lauren Brody, an American exchange student, became fascinated with the traditional music of Bulgaria. Single mindedly and almost single-handedly, she assembled what is now recognised as one of Balkan folk music's most important archives. That collection forms the basis of this important 4CD release-compiled and annotated by MsBrody herself, it must be the most authoritative ever issued.

Recovering a Music

When the communists took over in Bulgaria in September, 1944, they nationalized the record industry and bundled the labels in one state label: Balkanton. The folk music of rural North or West Bulgaria didn't have a place there anymore; Balkanton preferred the stylish and polished official folk music of the new People's Republic. Many of the old 78rpm grammophone discs with the music got lost. Lauren Brody, a New York-based musician and producer, was very impressed by Bulgarian music she'd heard at folk dancings and made her first solo-trip to the country in 1969 when anyone from a capitalist country was labeled an enemy foreigner. She came back there in 1971 with a Bulgarian Government stipend to study folk music at the conservatory in Sofia. In Sofia she got in contact with early recordings of Bulgarian music and began to work on the history of Bulgarian record industry and exploring the old folk music. This 4-CD box is already the second result of her work: "Song of the Crooked Dance" was published by Yazoo Records in the late nineteen-nineties. Brody has set up a website on [...] for more information about her research.

The music on these four CDs covers a period of forty-five years from 1905-1950 and contains a hundred tracks; ninety-seven of them are being reissued here for the first time -- this fact alone gives an impression of the importance of Brody's work. It is an amazing set of Bulgarian music which has never been heard before. A collector's item? Certainly, but it's also a must have for anyone who seriously loves Bulgarian music, dances to it or plays it. Brody herself has transferred the music from the old 78s; the sound quality is amazing. Her research wasn't met with great enthusiasm by Bulgarian colleagues; information was hard to get and still is. Brody met with who was still alive of the recording artists to gain information. In 1990 and 1991, when all transferring was done, she left copies of all transfers with the Archive at the Institute of Music at the Bulgarian Academy of Sciences in Sofia.

"Outsinging the Nightingale" is the work of a gifted researcher and producer and a great gift to the world of music that had almost been losing a wonderful part of itself. Highly recommended!

Lauren Brody
There can be few who are quite unfamiliar with the sound of Bulgarian music, whether the plangent harmonies of the Mystère Des Voix Bulgares, or the rocket-fuelled instrumentals of the wedding band movement, but even the most assiduous devotee will find plenty of surprises, even shocks, in this new collection. The 100 tracks on these four CDs, beautifully remastered from 78 rpm recordings dating from between 1911 and the early 1950s, represent the fruit of more than 40 years' collecting by American accordeonist Lauren Brody, who has brought to light an unexpected wealth of musical riches.

After the Second World War and the Communist takeover, official cultural life, including folk and popular music, was subject to strict constraints, couched in a language of national identity, purity and authenticity. What the extraordinarily broad range of music on these recordings demonstrates is that before music in Bulgaria came under that ideological lens, an almost promiscuous mixture of musical styles coexisted, sometimes even in a single performance.

A striking example is clarinettist Ramadan Lolov's Orientalski Kyuchek, which combines a limping, irregular Bulgarian rhythm with a melody with a contour that we would today place as characteristic of Jewish klezmer, performed with a phrasing and sound reminiscent of the klarino of northern Greece. Add to this mix a central, semi-improvised solo performed in a strongly Turkish manner, and it seems clear that any ideals of purity and authenticity held little interest for these performers and their audiences. Like the other Balkan states, Bulgaria, a multi-ethnic country in any event, only achieved its present borders after a series of conflicts in the early years of the 20th century, with a national identity consequently being assigned to people who previously considered their membership of a common culture to be of greater importance than a label of nationality. The collection includes choirs with an almost Adriatic sound, vocal duets with sprightly violin and accordeon which have an entirely Serbian cast, and ensembles of plucked tamburas which could easily pass for Greek.

Nevertheless, the core of the collection is sturdily Bulgarian: echoes of Boris Karlov's masterful accordeon, Vulkana Stoyanava's bright, joyous vocals and the break-neck village virtuosity of Ivan Arseov's Karlovska Ruchenitsa can still be heard today in the country's massively popular pop-folk.

Amazingly, the earliest of these recordings dates from 1911, a year before the First Balkan War, reconstructing part of a wedding ceremony in a kind of miniature documentary. We hear the shouts of the wedding guests, ritual chanting, a bagpipe melody, the sounds of procession and a blessing, leading to a final outburst of dance. It is a moving glimpse into a distant world.

The liner notes reflect Brody's dedication: there are thumbnail sketches of prominent performers, notes on the record companies, and a brief overview of the changing attitudes to the music by academics and its audience. This will remain the definitive guide to these once-lost treasures for many years to come. -Kim Burton

Disc 1: 1905-1950
1. Vladaisko Horo - Karlo
2. Stori Se Horo Golyamo - Mita Stoicheva
3. Na Dulga Sofra - Babaka
4. Opni Mi Tropni Mi - Vulkana Stoyanova
5. Yambolsko Horo - Korenyashkata Grupa Na Karlo
6. Dimo Na Rada - Vulkana Stoyanova
7. Zora Se Pukna - Peyu Nikolov
8. Kitka Hora - Slavi Velev
9. Zavidi Georgi Na Brat Si - G-Zha Beshovishka
10. Gledai Aishe - Ivanka Georgieva Gledai Me
11. Zabulvane I Zavezhdane Na Bulkata - Ramadan Lolov
12. Bisero Kerko - Atanas Velyov
13. Ne Zhali Yani Ne Plachi - Georgi Nizamov
14. Orientalski Kyuchek - Ramadan Lolov
15. Slushai Malka Mome - Nadezhda Zlateva
16. Dosta Sme Yali I Pili - Mehmed Aliev
17. Zun, Ganke Le - Boris Mashalov Zun
18. Elenino - Boris Karlov
19. Ne Plachi Maiko Ne Zhali - G-N Marko Ivanov
20. Nado Nadke - G-Zha Beshovishka
21. Starozagorsko Horo - Ivan Shibilev
22. Razdelyane Na Bulkata S Maika I - Sevlievska Troika
23. Kalino - Chernata Marga
24. Kokarsko Horo - Georgi Koev
25. Elenino - Duh. Ans. Pri Mvr

Disc 2: 1928-1950
1. Graovsko Horo - Karlo
2. Zashto Si Mi Lyube Gaileliya - Savata
3. Bre Blagatka - Petur Terziev
4. Karlovska Trapeza/Ruchenitsa - Slavi Velev
5. Mashteha Radka Resheshe - Gergana Tsekova
6. Todorkinata - Gospodin B
7. Chepelarsko Horo - Babaka
8. Subrala Denka Sedenka - Chernata Marga
9. Kulska Trapeza - Demir Cholakov
10. Pred Tebe Shishe Rakiya - Yurdan Bonev
11. Ruchenitsa - Iliya Atanasov
12. Obelyansko HOro - Boris Karlov
13. Mariika Moma Hubava - Boris Mashalov
14. A Bre Vodenicharyu - Vulkana Stoyanova
15. Barem Si Ergen Pohodih - Papazov
16. Karlovska Ruchenitsa - Iv. Arsenov
17. Maistor Pavle - Hr. Kondov
18. Pohvalila Se Radkinata Maika - Grupata Rosna Kitka
19. Na Trapeza - Ahmed Saliev
20. Oi Velo Velo - Ivanka Georgieva
21. Brusnene Na Zetya - Naroden Orkestur Karlo
22. Raina Hubavitsa - Tsonka Petrova
23. Moya Mila Dushte - Atanaska Todorova/Vulkana Stoyanova
24. Zazhenil Se Momchil Yunak - Slavka Georgieva
25. Pravo Horo - Grupata Na Tsvyatko Blagoev

Disc 3: 1911-1950
1. Kopano - Boris Karlov
2. Siten Mi Duzhdets - Ivanka Georgieva
3. Zasviri Bozhil S Kavala - Gudi Gudev
4. Horo - Metodi Takev
5. Dobrudzhanska Ruchenitsa - At. Avdzhiev
6. Pt. 1 - Mita Stoicheva Stoyan Na Stanka
7. Kyuchek Kurshilama - Demir Cholakov
8. Turne Mome Turne - Yurdan Bonev
9. Chicha Reche Da Me Zheni - G. Pindzhurova
10. Barem Si Ergen Pohodih - Parush Parushev
11. Kitka Narodni Pesni - Al. Pincas/M. Tokushev
12. Razbolyala Se Hubava Yana - Gosho Lolov
13. Hadzhilarska Ruchenitsa - Ivan Shibilev
14. Dei Gidi Maro Selfino - Baba Nasta Pavlova
15. Izvazhdaneto Na Bulkata - Boncho Georgiev
16. Mentsite Drunkat - Masha Belmustakova
17. Dali Gurmi Ili Se Zemya Trusi - Yurdan Bonev
18. Zhetvarska Pesen - Gencho Kolev Kehayata
19. Kyuchek
20. Kotlenska Ruchenitsa - Sofiiska Duhova Muzika Na Karlo
21. Byala Sum Byala - Maria Kushleva
22. Taz Vecher Nema Bulya Ti - Stoyan Velikov
23. Shpirt Lele Yano - Hor Gusla
24. Tvoito Tunko Krustche - Atanaska Todorova/Boris Mashalov
25. Ruchenitsa - Korenyashkata Grupa Na Karlo

Disc 4: 1928-1950
1. Mechkadarska Pesen - Georgi Stanev
2. Tunki Svirki Sviryat - Mita Stoicheva
3. Beloto Mare - Hristo Arsov
4. Trakiiska Ruchenitsa - Slavi Velev
5. Shanko Si Bonka Zalyubi - St. G. Penchev
6. Myatalo Lenche - Boris Mashalov
7. Mamina Irinka - Savata
8. Kak Se Momi Lyubyat - Mita Stoicheva
9. Haide Sluntse Zaide-Kitka - Mandolinen Kvartet Tale Stoyanov
10. Pasal E Stanyo Shileta - Georgi Koev
11. Novozagorsko Horo - Kosta Kolev
12. Dotekla E Voda Studena - Ismail Saliev/I. Vantov
13. Na Trapeza
14. Raina Knyaginyata - Ivanka Georgieva
15. Chamcheto - Pirinka Hristovi
16. Dobra Iz Putya Vurveshe - Yovcho Karaivanov
17. Ya Mi Dai Mamo - Kina Kirilova
18. Kako Shto E Tazi Chasha - L. Dokova/St. Ivanov
19. Na Trapeza - Yoncho Netovyot
20. Vaklino Mome - Radka Peneva
21. Petlite Peyat
22. Svatbata Trugva - Nadka Zlateva
23. Kavali Sviryat V Usoi - Ramadan Lolov
24. Bulgarska Ruchenitsa - Mandolinen Orkestur Na Tale Stoyanov
25. Gankino - Karlo

New Orleans

Great compilation of New Orleans legendary Funk genius Eddie Bo. This anthology features songs from his early and formative years to the present days, and includes his own recordings as well as productions for other artists.

This Vampi Soul collection is arguably the most representative audio portrait of the New Orleans songwriting and performing kingpin, Edwin Bocage. Covering 60 years of music making, its whopping 28 tracks highlight his songs, singles, and productions for other artists. Like all of the best New Orleans music, this baby is sweaty, raw, greasy, and super funky. Some of the classics here include Bo's stellar bit of proto-soul-funk in "I Found a Little Girl" (while it may borrow from Ray Charles' gospel-soul inspiration, it gives back in its prefiguring of the bridge style James Brown used to great success later on), "We Like Mambo" (the Afro-Caribbean style welded hard to NOLA second line), and the great break-driven duet "Lover & Friend" with Inez Cheatham. There are an equal number of highlights in his productions and arrangements including -- but not limited to -- "Horse with a Freeze, Pt. 1" by Roy Ward, the Explosions' "Garden of Our Trees," with its burning bassline and tight horn charts, and Curley Moore & Cool Ones' "Funky Yeah" (which is just damn nasty in the way it uses Bo Diddley's "Who Do You Love" rhythm). Then there's the elastic wah-wah guitar and keys in "The Rubber Band" by Bo with the Soul Finders and the straight-up employment of a Motown-style string chart on his 2007 single "Chained." Anyway you want to listen to this slab, chronologically, on shuffle, or one track played over and over until you gotta move to the next, is just fine because In the Pocket with Eddie Bo. is the bomb. -AllMusic Review by Thom Jurek

1. Little Bo - Baby 2:45
2. Eddie Bo - We Like Mambo 2:25
3. Edide Bo - I Found A Little Girl 2:27
4. Barbara George - Something You Got 2:45
5. Eddie Bo & The Barons - Gotta Have More 2:31
6. Eddie Bo - Fallin In Love Again 2:44
7. Eddie Bo - SGB 2:33
8. Eddie Lang - Souling 2:16
9. Oliver Morgan - What's Good To You 2:51
10. Oliver Morgan - The La La Man 2:31
11. Bobby Williams - Boogaloo Mardi Gras 2:57
12. Roy Ward - Horse With A Freeze 2:22
13. Candy Phillips - Timber 4:03
14. Chuck Garbo - Can I Be Your Main Squeeze 2:27
15. David Robinson - I'm A Carpenter 2:26
16. Explosions - Garden Of Our Trees 2:42
17. Marilyn Barbarin - Reborn 2:26
18. Eddie Bo & Inez Cheatham - Lover & Friend 2:27
19. James K-Nine - Live It Up 2:55
20. Eddie Bo - Can You Handle It 2:41
21. Doug Anderson - Mama Here Comes The Preacher 2:39
22. Eddie Bo - Check Your Bucket 4:49
23. Curley Moore - Funky Yeah 2:27
24. Eddie Bo - Geting To The Middle 2:27
25. Curley Moore - Shelley's Rubber Band 2:01
26. Eddie Bo - The Rubber Band 2:52
27. Eddie Bo - When The Fingers On The Funk 3:24
28. Eddie Bo - Chained 2:32

This is another killer EDDIE BO produced New Orleans bomb from local drummer extraordinaire Bobby Williams and his group. Unbelievably hypnotic and groovy Mardi Gras Indian second line meets monster New Orleans rhythm and blues groover! Originally released on Seven-B, exact repro artwork.

Bonus Single
A Boogaloo Mardi Gras Pt. 1 2:27
B Boogaloo Mardi Gras Pt. 2 2:29

Notes
Limited to 500 copies.
2016 reproduction of the 1968 original release on 'Seven B'.

Guadeloupe

The return of the most important French Antillean band of the 60's and the 70's. A unique mix of Biguine, funk, Latin, Compas and early zouk. A selection of 14 of the best titles of the band that traces their musical adventure. This is the 2nd volume of the "Antilles Series", it follows the reissue of Edmony Krater "Tijan Pou Velo", more volumes to come! The Vikings were Guadeloupe's first true rock stars. They embodied the same spirit of liberty and anti-conformism as Led Zeppelin in 1960s Britain, The Impressions in U.S. soul around the same time and Ornette Coleman in the jazz world a few years earlier. They might not play out-and- out rock, but these young hipsters with their unorthodox dress sense reinvented the music of the tropics and shook up its conventions to such an extent that their songs still sound like the soundtrack of a society in the throes of radical change. Their popularity went through the roof after their debut gigs at La Cocoteraie, one of the trendiest clubs in the Gosier area of Pointe-à- Pitre. Then the music of the Vikings will follow and customize all the major trends in world music, combining traditional music with funk, reggae and Cadanse see disco or pre-zouk at the dawn of the 80s. Find a selection of 15 of the best songs of the group that traces the musical adventure of this group that the planet world and groove rediscover around the world but also in France. Camille Sopran'n, who founded the band with guitarist Guy Jacquet and bassist Pierre-Edouard Décimus, personally selected this compilation from the Vikings' vast discography of about 20 albums, starting in 1967. They obviously inherited a lot from "roots music" (Gwo Ka), jazz and the beguine that had been played on the island since the late 19 th century, and of which they give a dazzlingly modern version on "Tou Touni". Their music is buffeted by the artistic winds that were sweeping the Caribbean: "Rumbo Melon" is influenced by Latin music; "Assez Palé" is a cover of a number by the great Haitian saxophonist and composer Nemours Jean Baptiste, who is often presented as the inventor of kompa; and "Ambiance" offers a new take on "Guhe Huiamo" by the Ivory Coast singer Amédée Pierre.

1. Ambiance Vikings 2:28
2. Assez Palé 2:48
3. Rumbo Melon 3:30
4. Gadé Douvant 4:44
5. Ti Tong Ti Tong 3:44
6. Let's Stay Up Vikings 6:11
7. Ahi Na' Ma 7:04
8. Souvenirs 5:29
9. Retour Au Pays 7:24
10. Zagalakatéléman 8:04
11. Ka Nou Pé Fé 6:56
12. Claro Que Si 5:36
13. Magdalena 7:27
14. Mikolasie 4:58

Guadeloupe

1st time reissue of this rare album. It's a mix of Gwo ka, jazz and soul. 

Totally unique Spiritual Gwo Ka fusion masterpiece from Guadeloupe, incredibly nice listen, check 'tijan' - quality reissue.

In some quarters, Tijan Pou Velo is considered something of an unheralded jazz-fusion classic. Here issued on CD for the first time by Heavenly Sweetness, the 1988 album saw trumpeter Edmondy Krater join forces with occasional backing band Zepiss to deliver unique blends of modern Gwo Ka (a style born and popularized in Guadeloupe) with American jazz-funk and electric jazz influences. The resultant music is a humid, highly attractive hotchpotch of Guadeloupe's traditional African and South American influences, and distinctive nods to (then) contemporary European and North American sounds. In other words, it's a tropical fusion masterpiece. Fantastically, this CD edition contains two previously hard-to-find bonus tracks not present on the original vinyl edition.

A native of Guadeloupe, Edmony Krater grow up with the sound of Gwo Ka, this traditional Caribbean percussion. Young trumpeter, Edmony founded with friends the group GWAKASONNE in the late 70s, which was mixing gwo ka tradition and modern music (jazz, soul, spiritual). Then Edmony settled in France where he will plays with many Caribbean musicians but also Bernard Lubat and Nougaro. In 1988, he recorded the album "Ti Jan Pou velo" which is a tribute to the musicians of “roots” music whose percussionist Tijan disappeared some years earlier. This album is an album aside from Caribbean music by its coherence, originality and modernity. This is the first time it is reissued and the title "Gwadeloup" is present on our compilation "Kouté Jazz".

1. Tijan 5:32
2. Gwadloup 6:34
3. Crepuscule 3:26
4. Chimin Spirit 6:37
5. West Indies 5:48
6. Occitant Dance 3:01
7. Ritme A La Vi 3:30
8. Sonjé Pa Pléré 3:56

Jamaica

First time reissued since 1981 of Errol 'Flabba' Holt's very rare dub album of Roots Radics Dub.

Ranking Joe produced dubwise set from 1981 showcasing the talents of the Roots Radics and in particular the monolithic basslines of Flabba Holt. Mixed at King Tubby's by the King himself on riddims recorded at Channel One with Solgie Hamilton.

Originally released in 1981 on the Tad's label with very few copies pressed, Errol Flabba Holt's rare dub album entitled "Roots Radics Dub" has been re-issued by Ranking Joe Universal Records. 

Errol Carter, who is also known as Errol Holt and Flabba Holt, is probably best known as the founder/leader/bass player of the Roots Radics, the most in-demand session band in the first half of the 1980s, which also were the backing band for artists like Gregory Isaacs, Bunny Wailer and Israel Vibration on stage. But before he and Eric "Bingy Bunny" Lamont founded the Roots Radics in 1978, he already had started his music career playing sessions for the likes of Bunny “Striker” Lee and Lee "Scratch" Perry in the late '60s/early '70s. 

Some of the greatest players of instruments from Jamaica are involved here. Besides Errol "Flabba" Holt on bass, the line-up furthermore consists of Lincoln "Style" Scott on drums; Gladstone Anderson on piano; Winston Wright on organ; Winston "Bo Pee" Bowen on lead guitar; Jah Screw on percussion, and Senel on rhythm guitar. It were Ranking Joe & Jah Screw who produced this 10 track dub album, which largely contains dubbed up versions of tracks from the 1981 released LP "The Best Of Tony Tuff", also produced by the aforementioned duo, who by the way produced the better known classic 1981 dub set "Dangerous Dub". Just like the latter, the forceful "Roots Radics Dub" has been mixed at King Tubby's old studio by the King himself on riddims recorded at Channel One with engineer Soljie Hamilton. At the time King Tubby actually worked the board for the first time in years as Scientist had gone to Channel One and Tubbs had no one else to do it. 

"Roots Radics Dub" features raw and very weighty early 1980s riddims played by the Roots Radics, bridging the roots and dancehall phases. The mix is mostly raw and the dub versions largely consist of drum, bass and crashing percussion with occasional bits of guitar, piano and keyboard. It's obvious that this dub album in many ways resembles "Dangerous Dub". However, unlike the latter some of the cuts here have snatches of vocal in the mix, in this case of course Tony Tuff's. These tracks include "Bronx Bommers" ("Hello Good Looking"), "Ark Dub" ("Tired Of This Life I Am Living"), "Satta Dub" ("Hope It's True"), and "Rub A Dub Style" ("Roots Man", across a relick of Carlton & His Shoes' "Love Me Forever" riddim). Only the last track on side B, "Super Special Dub", features an unknown vocal (most likely Ranking Joe). 

"Roots Radics Dub" is a pristine sounding album that simply needs to be part of your collection of cherished dub albums. So, get it while you can!!!! -reggaevibes

1. Flabba Dub 3:45
2. Screw Face Dub 3:36
3. Bronx Bombers 3:30
4. Macka Dub 2:56
5. Ark Dub 4:02
6. Satta Dub 3:24
7. Criple Man Skank 3:07
8. Rub A Dub Style 2:46
9. Murder Dub 1:58
10. Super Special Dub 2:52

India

Bollywood freaky horror-funk the Desi-Dracula Music Cabinet. One of Finders Keepers' most exquisite, exhumed, ectoplasmic, and existentially essential collections yet. 

A veritable pageantry of aural camp, this wonderfully bizarre collection is culled from several decades' worth of Bollywood's most gruesome horror film soundtracks. As the album's subtitle states, this is "The B-Music of the Indian Horror Film Industry," and throughout its 22 tracks, some of the industry's most notable composers dig deep to add unforeseen levels of creep into their music. The juxtaposition of chirpy disco-pop and trashy Indian funk with invasive horror effects and dirgelike weirdness makes for an entertaining mix. The clattering drum solos of Hemant Bhole's "Sansani Khez Koi Baat" and the dissonant brass fanfares and guttural moans on Laxmikant Pyarelal's "Aa Jaane Jaan" deliver plenty of camp, while "Main Theme from Andhera/Darwaza" by the composing duo of Sonik Omi is a ragged, distorted mess of funky sci-fi horrification that plays like a psychedelic Bollywood Joe Meek production. Bollywood Bloodbath is a marvelous bit of crate-digging from the folks at Finders Keepers Records, who offer another solid compilation to their well-curated stable. -AllMusic Review by Timothy Monger

1. Rajesh Roshan - Sanata Theme 0:42
2. Hemant Bhole - Sansani Khez Koi Baat 3:09
3. Bappi Lahiri - He Met Me in the Guest House 3:08
4. Bappi Lahiri - Meri Jaan 6:28
5. Laximikant Pyarelal - Aa Jaane Jaan 4:48
6. Ratandeep Hemraj - Birha Ki Maari Koi 4:11
7. Bappi Lahiri - Dance Music 1:56
8. Sapan Jagmohan - Aji Kahan Gum Ho 5:02
9. Laxmikant Pyarelal - Theme Music 3:19
10. Usha Kanna - Jeena Hai to Jee Bhar Hanslo 5:25
11. Marjaban Too Kuthe Part 1 - Rajesh Roshan 0:55
12. Sapan Jagmohan - Sote Sote Adhi Rat 3:59
13. Bappi Lahiri - Dance Music 1:56
14. Sonik Omi - Main Theme from Andhera / Darwaza 3:03
15. Sapan Jagmohan - Aji Kahan Gum Ho 3:17
16. Rajesh Roshan - Superman, Superman 4:29
17. Laxmikant Pyarelal - Theme Music 1:52
18. Bappi Lahiri - Aafat 4:17
19. Usha Kanna - Jeena Hai to Jee Bhar Hanslo 4:11
20. Marjaban Too Kuthe Part 1 - Rajesh Roshan 3:00
21. Sapan Jagmohan - Sote Sote Adhi Rat 5:58
22. Hemant Bhole - Ab Kahan Jayenge Ham (Sad) 3:39

Ethiopia

Ethiopian piano magic

An outstanding pianist and a remarkable composer, Emahoy Tsegué-Maryam Guèbrou, now a Christian nun in a Jerusalem monastery, recorded her own piano solo works, seeped in Ethiopian culture. Their rich, personal poetry brings to mind Carlos d'Alessio's India Song. A rare curiosity indeed, with beautiful melodies and a charming interpretation.

If the listener did not have the CD cover handy, it would be difficult to guess who this artist is or where she hails from. Emahoy Tsegué-Maryam Guèbrou was born into a prominent literary Ethiopian family in 1923 and partly educated in Europe. The lovely young girl studied piano and violin but political vicissitudes in her homeland led to an unsettled and peripatetic youth. Dispirited by events in her life, she found consolation in religion and became a nun. Although dedicated to teaching at an orphanage, she nonetheless found time to create a series of slightly jazz-influenced, neo-classical pieces, many of which are showcased here. The material is culled from two LPs that were released in 1963, when she was 40 years of age. Meditations on bible themes and the beauties of nature were her favorite subjects and her compositions were often built around recognizably Ethiopian melodic structures. But they also reveal refracted shards of what would certainly be cited as influences if only it could be established she had ever heard the works of Count Basie, Oscar Peterson, Keith Jarrett, Abdullah Ibrahim and especially, Eric Satie. But ultimately, Sister Guèbrou seems to be a lone reed -- but a very beautiful one. --Christina Roden

The 21st volume in the grand Ethiopiques series (that reflects how deeply the country's popular music traditions are steeped in American and European colonial sources) is dedicated to the solo piano works of the outstanding composer and performer Emahoy Tsegué-Maryam Guèbrou, a daughter of Ethiopian high society who chucked it all to become a nun in the nation's Orthodox Church. Tsegué-Maryam Guèbrou was educated in Europe. She played violin (under the tutelage of Polish émigré Alexander Kontorowicz). She took up her piano studies while in the convent and teaching at an orphanage. Her first recordings -- two LPs -- were issued in 1963, when she was 40. The first nine cuts here come from these two albums. Guèbrou showcased her classical training on much of the first offering. But the opening cut also displays her incredible ability to play an extremely melodic blues piano as read through the great jazz masters of the instrument. One can hear a bit of Albert Ammons, a bit of Count Basie and Oscar Peterson, and even a trace of Art Tatum in "The Homeless Wanderer." She sticks to her wonderfully haunting classical compositions until "Presentiment" (track five), where she returns to the deep blues, which are nonetheless played light and airy in the middle and upper registers of the piano. Jazz injects itself deeply into her playing on the second recording, beginning with "Mother's Love." There is a spaciousness in her playing that is remarkable, and it is very much like song. "Ballad of the Spirits" may be an obvious example, but it is far from the only one. Her sense of phrasing is rhythmically complex; she shape-shifts, straying from standard time signatures into something more mercurial without losing form. On this tune one can hear Beethoven and Teddy Wilson.

"The Song of the Sea" is the longest composition here. Clocking in at just under nine and a half minutes, it is complex yet utterly engaging. Here, scalar forms and ostinati assert themselves in the theme, which returns over and over again throughout. But the improvisation on the original changes is remarkable; it feels as if the piece is in three movements, and a different kind of improvisation is featured in each. The harmonic invention and the melodic interplay between her hands are seductive. There are three other tracks here from an album Guèbrou recorded in 1970 while in Jerusalem on pilgrimage. These, "Golgatha," "The Jordan River Song," and "The Garden of Gethesemanie," are among the strongest works here. Even as they engage classical themes, especially on "Golgatha," the early jazz of Fats Waller and Jelly Roll Morton is whispered into the body of these compositions. The final four cuts here come from an album issued in 1996 while she was living in the convent. These four pieces are evidence of the complete realization of her craft. Guèbrou's meld of blues, classical, and gospel music filtered through a jazz pianist's sense of time and voicings is unlike anything anyone has ever heard. It's ethereal yet rooted in the Ethiopian Orthodox sung tradition; it's gauzy and fluid, yet worldly in its command of the musical languages she has chosen to display. It's precise and ordered, yet unfettered and free to drift. It feels like songs of praise, prayer, charming conversation, and partying all rolled into a single exquisite voice that contains many. Fans of Abdullah Ibrahim's township-informed solo work will find this set intoxicating and irresistible, yet she sounds nothing like him, or anyone else. The Ethiopiques series has unearthed other soloists, but this volume stands out for its lyricism, its mysterious emotional depth, and its utter musical mastery. -AllMusic Review by Thom Jurek

1. The Homeless Wanderer 7:03
2. The Last Tears Of A Deceased 8:24
3. A Young Girl's Complaint 6:06
4. The Mad Man's Laughter 3:53
5. Presentiment 3:36
6. Mother's Love 3:33
7. Ballad Of The Spirits 5:51
8. The Song Of The Sea 9:27
9. Homesickness 3:47
10. Golgotha 5:06
11. The Jordan River Song 2:33
12. The Garden Of Gethesemanie 3:20
13. The Song Of Abayi 3:07
14. The Story Of The Wind 2:40
15. Evening Breeze 2:46
16. Tenkou! Why Feel Sorry? 2:03

Notes
Tracks 1 to 5 from the 1963 LP "Tsegué-Maryam Guèbrou Spielt Eigene Kompositionen". 
Tracks 6 to 9 from the 1963 LP "Der Sang Des Meeres". 
Tracks 10 to 12 from the 1970 LP "The Hymn Of Jerusalem". 
Tracks 13 to 16 from the 1996 "Best Of" CD. 

Asia

Wonderfully disorienting syncretic composition from field recording specialist Laurant Jeanneau a.k.a. Kink Gong; collapsing space into time with a suite of hybrid pieces blending unedited acoustic recordings with computer modified parts for his ever-dilated Discrepant label.

Melding contact mic recordings of various turkish instrumentation - Saz, Cura and Tanbur (played by Remi Solliez) - with archival location recordings made in South East Asia (the most common site of Kink Gong’s focus), the Berlin-based Frenchman has forged yet another surreal and alien addition to his illustrious catalogue of outernational sound collage.

Like Rashad Becker’s Traditional Music for Notional Species, a radio conflating its frequencies, or a big-eared ET with a cracked copy of Ableton, Kink Gong’s geographically decontextualised sound arrangements push the listener’s limits of perception to short-circuit the senses and create new neural pathways which transcend geography and temporality.  

We know where the recordings were made, and what they’re documenting, yet the sounds and the cryptic logic behind their organisation eludes any descriptive grasp, or in terms that we already know, at least. To be quite honest, it all elicits some of the rarest sensations imaginable; a feeling of being utterly lost in unfamiliar surroundings, as in a dream, or wandering some mazy bazaar in the mind of Muslimgauze.

If you like records to light fires in your mind and synthesise new smells, sensations that aren’t understood or forgotten easily, you really need to check this one out.

''David Fanshawe had the same problem. You travel to so many amazing places, and record so much interesting ethnographic material, you feel like it deserves so much more than to become some kind of archival museum piece. So how do you make it relevant? How do you make it now?

Well that’s easy; you add a piece of yourself. Fanshawe decided to add Latin chorals to his African tribal recordings, to amazingly clunky effect on African Sanctus, and if anything it serves as a warning. Perhaps some traditions deserve to stand alone, perhaps some traditions will only be cheapened and exploited by your musical intervention.

Kink Gong, aka German artist Laurent Jeanneau, perhaps conscious of his predecessors elects to take a different route, and adds not so much a piece of himself, but a piece of something else that without him could never have occurred. It’s curious, his fingers are all over this album without ever having played a note.

His sound is worlds colliding, contact mic’d recordings of various Turkish instruments, Saz, Cura and Tanbur (played by Remi Solliez a disciple of the late Talip Ozkan), collaged with archival recordings of South East Asia that is strangely not as jarring as you would expect, primarily because of the way he mixes, multi tracks, adds subtle effects, and makes full use of the stereo field. Then of course there is selection process and the ingredients he elects to use. He often uses the Asian vocals with the Middle Eastern stringed accompaniment, and it works. To some extent he couches his sounds in the more musical end of sound art, coming across as an avant garde collage that betrays hints of repeated musical motifs, though the playing is for the most part abstract (primarily due to having recorded using contact mics) and improvised, and the searching tentative plucking actually melds incredibly well, with the vocals.

If you combine two traditions does a fourth world bloom? Perhaps this is a question for Brian Eno. Because this non-geographical ethnographical recording that hints at multiple places yet can never really settle in one. Curiously too it still retains the exuberance of its origins. This kind of deliberate blurring of culture is fascinating and forces you to confront notions of authenticity, colonisation, and authorship.

It’s curious too that Jeanneau is so interested in appropriating in such a slippery manner. In his hands all the things we hold dear: nationalism, genre identity, a sense of purpose and place are no longer relevant. His recordings are dynamic, near musical worlds of enforced collusion where experimental/ found sound and musqiue concrete traditions exist hand in hand with ethnographic documents, perhaps adding those final two worlds we needed to create authentic fourth world music.'' -Bob Baker

1. La Grue blanche deploie ses ailes 5:51
2. Reculer et repousser le singe 1:28
3. Caresser un cheval 5:02
4. Le coq d’or se tient sur une patte 6:16
5. Le double vent traverse les oreilles 5:21
6. Saisir l’aiguille au fond de la mer 7:22
7. Comme un eventail se retracte 4:32

Notes
Discrepant presents another unique document of Kink Gong's aka Laurent Jeanneau's collection of surreal soundscapes of augmented field recordings, this time using two very different source recordings to create his own unique brand of alien music.

Japan

"Subtitled: Instrumental Music From Japanese Pinky Violence Movies. The title Killing Melody is from the movie Criminal Woman: Killing Melody and sets the scene for a taste of Pinky Violence. Any filmgoer new to the genre should be warned: Pinky Violence movies are not for the prudish or faint hearted. With the irreverence of Luis Bunuel, the slapstick of a Carry On film, the frisson of Russ Meyer, all combined with callous violence. That said, they can be a whole lot of fun. They have more than a resemblance to Blaxploitation movies, yet these films were made before Cleopatra Jones, Coffy and the like. The music selected for this album is not limited to Pinky Violence films, but also the New Action gangster series and the erotic avant garde of Koji Wakamatsu. Very much products of their shameless and liberated times, expressed with a uniquely Japanese mania; essential viewing for anyone interested in early 70s Japanese culture. Featured on the record are cult gloom-folk-rock band THE JACKS. Instead of their signature suicidal folk, they are represented here with one of their earliest recordings, a fuzz rock discotheque hoe-down. Alongside them THE FLOWERS, one of the most renowned Japanese 60s rock acts, beat out a hippy jazz bossa version of their first hit Last Chance. Enka goes RnB, meat and potatoes drums, clavichords, rocking horn sections, driving drones, big reverb and beats to die for. Some of these sounds could easily have been made by Ramsay Lewis, Duke Ellington or Lalo Schifrin. Instead they were banged out by the tight studio bands and orchestras of the Toei, Toho and Nikkatsu film studios. Released on Ethbo Music, its first release for several years, the label being a product of the fevered mind of Howard Williams. Normally found holed away in the basement of Honest Jons record shop, where he runs the distribution for the Honest Jons label and a select group of imprints from around the world. Co-compiler of the Moondog - Viking Of Sixth Avenue compilation album for Honest Jons, he also co-ran Rita Records in the mid 1990s, which launched Smoke Citys international chart hit Underwater Love. This is a 1000 only limited edition vinyl run single LP with insert. Liner notes are written by Mark Schilling, author of No Borders No Limits: Nikkatsu Action Cinema. Mastered in at Dubplates and Mastering Berlin and pressed at Pallas." -Ethbo.

A1 Koumei Sone - Futengurashi 1:45
A2 Kunihiko Murai - Yajugari M-11 T-3 3:00
A3 Masao Yagi - Zenka Onna Koroshibushi M-12 1:20
A4 Hajime Kaburagi - Yasagure Anego Den 2:28
A5 The Jacks, Keikichi Usui, B. Schnare - Omae Ni Muchu Sa (Inst.) 1:48
A6 The Flowers, Jun Hashimoto, Tadao Inoue - Last Chance (Inst.) 3:38
A7 Kunihiko Murai - Yajugari M-14 T-1 2:00
A8 Hajime Kaburagi - Kouiki Bouryoku Ryuuketsu No Shima M-4 3:29
B1 Rei Nakanishi, Kunihiko Suzuki - Kinjirareta Ichiya 1:33
B2 Yu Aku, Kunihiko Murai - Zange No Neuchi Mo Nai (Inst.) 1:54
B3 Toshiaki Tsushima - Zubeko Bancho Hamagure Kazoe Uta M-2 1:08
B4 Hajime Kaburagi - Kirikomi M-2-2 2:31
B5 Hajime Kaburagi - Bakudan Otoko To Iwareru Aitsu 1:42
B6 Masao Yagi - Sukeban M-2 1:58
B7 Tadashi Kinoshita - Jigoky No Tenshi Akai Bakuon M-4A 2:42
B8 Kenjiro Hirose - Sukeban Taiman Shobu M-5 3:24
B9 Hajime Kaburagi - Sex Hunter PS-C 2:56

Notes
<TRILLA> : holywarbles.blogspot.com

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