19 Jan 2021


Essential exotica compilation. This is exotica plus, and there's not a dud track.

'Essentially the third volume of the 'Jungle Exotica' series, this purports to be from an imaginary record label: 'Senor Charro Records' 33 tracks of ultra-rare, banned-by-the-FBI lounge, exotica and exotic rock'n'roll from the vaults of Senor Charro Records of West Hollywood: 1959-1972. Packed with luscious glossies of the beefcake performers and detailed liners from the label president! Never before has this hidden music been documented!'

Bizarre Lounge Music . . . But Good!

'As freaky as this CD is -- and you'll know what I mean when you look in the booklet and see all the pictures of scantily clad men -- I found the music to be terrific. I have only recently become interested in what I would call "Lounge Music" and while some of these recordings -- okay, most of them -- are a little rough around the edges in terms of recording quality, they deliver some uniquely exotic tunes. The disc is split into about half instrumentals and half vocals, which is nice, and they fit right into the genre in their own unique way. This is not smooth, easy listening stuff, but can be nerve-jangling at times, but in a good way.' -Tom Brainard

1. Luchese Liebhaber - Gesundheit 2:34
2. La Lupe - Fever 2:16
3. Raul Garcia - Sabrosito 2:54
4. The Rhythm Kings - Exotic 2:14
5. The Eternals - R & R Cha-Cha 2:28
6. Kenneth Deal - Go Go Jumbo 2:11
7. Tommy Mercer & The McBrides - Volcano Rock 2:01
8. Monarchs - El Bandito 2:13
9. The Passions - Jungle Drums 2:28
10. The Impact Five - Island Of Love 2:17
11. Harvey Anderson - Jivaro 2:16
12. Skip Manning - Devil Blues 2:29
13. Glenda & Glen - Voodoo Doll 1:48
14. The Rhythm Addicts - The Thrills 2:21
15. Don Sargent & The Buddies - Voodoo Kiss 1:59
16. The Sheiks - Sultan's Delight 1:56
17. Mercy Baby - Love's Voodoo 2:46
18. Volchords - Bongo Love 1:47
19. The Arabian Knights - Mo-Rockin 2:01
20. Young Williams & The Jamaicans - Limbo Drum Part 1 2:22
21. Garry Warren - Midnight Rain 2:33
22. Joseph Latek Quintet - Sister Mamie 2:41
23. Bob Destiny - Kalenda Rock 2:20
24. Ralph Marterie - Shish-Kebab 2:22
25. Paul Leader - The Devil's Pad 1:38
26. Neal Scott - Go Bohemian 2:22
27. Jerry Warren - Monkey Walk 2:09
28. The Lincoln Trio - Shakedown 2:21
29. The Invaders - Shock Treatment 1:51
30. The Untouchables - Limbo-Nova 1:51
31. Ganim's Asia Minors - Halvah 2:07
32. Preston Love & Orchestra - Ali Baba's Boogie 2:29
33. The Bambinos - Algiers 2:17


Prince Far I come again!

'Rare 1980 UK only Roots Reggae and Dub album featuring members from the Singers & Players, Roots Radics & Revolutionaries.'

'Yes yes. A great session from the much-missed Prince Far I and some hypnotic dubwise riddims from the Roots Radics band.' -RasLeroy

'Showcase In A Suitcase is a reggae album comprising showcase (songs followed by dubs) format material produced by Prince Far I, and performed by Prince Far I, Ashanti Roy, The Wailing Souls, and Naggo Morris. The backing band throughout is the Roots Radics. The tracks on the album were taken from singles released on Prince Far I's Cry Tuff label, and remixed for inclusion on the album. The album reached number six in the UK Reggae Chart published by Sounds in December 1980.' -Wiki

a Big vic rip

A1 Throw Away Your Gun 4:10
        Vocals – Ashantie Roy, Prince Far I
A2 Buds Bush 4:23
        Vocals – Ashantie Roy, Prince Far I
A3 How Love Divine 3:33
        Vocals – Prince Far I, Wailing Soul
A4 Lovers Frock 3:42
        Vocals – Prince Far I, Wailing Soul
A5 If You Want To Know Your Friend 3:31
        Vocals – Ashantie Roy Kongos, Prince Far I
B1 Farm Drunk 3:35
B2 Can't Take Su Su Pon Dread 3:35
        Vocals, Written-By – Naggo Morris
B3 Prince Far I Dub 3:49
        Vocals – Naggo Morris
B4 Mighty Ruler 3:47
        Vocals – Naggo Morris, Prince Far I
B5 Jah Do That 3:19
        Vocals – Naggo Morris, Prince Far I

Bass – Errol Flabba Holt
Congas [Congo Drum] – Scollie
Drums – Style Rattadam Scott
Engineer – Crucial Bunnie, Scollie
Keyboards – Gladston Anderson
Lead Guitar – Sowell
Percussion – Scollie, Prince Far I, Roy Johnston Kongo
Remix – Prince Far I
Rhythm Guitar [Redim] – Bingy Bunny Lamont
Written-By – Prince Far I (tracks: A1 to B1, B3 to B5)


Recorded by Andrew Schloss in Havana and Santiago de Cuba, July 1980

As Andrew Schloss explains in the liner notes: “Carnaval has a history of mixing and uniting people of different races, and the merriment and participation in Carnaval has always transcended class boundaries”. Recorded in 1980 in Havana and Santiago de Cuba, Schloss note only captures the unique unifying experience that this celebration perpetuates, but also the vivacity of the Brazilian music which itself is a mélange of Portuguese, African and American Indian heritage. Liner notes include information on the History of Carnaval, as well as song and instrument details. Some notation and lyrics. -Folkways

1. Comparsa musicians - Químbara - Mozambique Rhythm 3:37
2. Comparsa musicians - Soy Cubano 2:58
3. Comparsa musicians - Ahora es cuando es - Now Is the Time 3:37
4. Comparsa musicians - El Perico Está Llorando 3:30
5. Orquesta Aragon - Pregúntame 8:58
6. Two little boys at the Carnival in Havana - Boy's Duet 1:01
7. Conga de los Hoyos de Santiago de Cuba - Conga de Santiago 8:47
8. Los Hermanos Izquierdo - Los Hermanos Izquierdo 3:46
9. Carabalí Olugo - Africa, Africa 5:04
10. Organist, drummers - Órgano de Manzanillo 4:24

Incl. Pdf

18 Jan 2021



'Again the great Bopol with a great Hit. Nyboma et Bopol champions de champions.'

'Classic Congolese Rumba and Soukous recorded in France by the famous Bopol (Mode Succès, 4 Etoiles) featuring Wuta May, Syran... and including the irresisitible 'Manuela' and the special track 'Bonjour Le Soleil' with guests Nyboma and Tchico.'

Bopol Mansiamina, also known as Bopol or Don Paolo, is a prolific and renowned Congolese musician (bass player, guitar player most commonly as a rhythm guitarist, vocalist, composer, and producer). He has recorded and performed extensively over four decades as a solo artist, as a member of leading African bands, and in support of many African musicians. Bopol is best known for his work in the 1980s and early 1990s as one of the four members of the Paris-based supergroup Les Quatre Etoiles (the 4 Stars) and as a solo artist.

Bopol contributed to much of the best Congolese soukous music made during its 1980s and 90s heyday. His best work may be that from the early 1980s. "Manuela" is recognized among his outstanding tracks. Much of his music is recognized as being highly danceable, although somewhat repetitive. Some of his songs - such as "Pitie, Je Veux La Reconciliation", "Samedi Soir", "Bety Bety" - were common staples on many 1980s dance floors around the world. On his solo recordings, he consistently surrounded himself with stellar musicians. The guitar interplay between Bopol and his frequent collaborator, Syran Mbenza, has been described as "legendary."

Henry A
'Where is this giant?'

Kennedy Ontuga
1 year ago
'Bopol is in Paris but is down with a stroke. Lets pray for this unsung Legend.'

Label: Syllart Production ‎– SYL 8301
Format: Digital, Vinyl, LP
Country: France
Released: 1983
Style: Soukous

1. Manuela 6:45
2. Controleur 6:05
3. Choisi 6:41
4. Bameli Pena 6:08
5. Bonjour Le Soleil 3:56

Congas – Ti Pierre
Drums – Georges Happy
Lead Guitar – Syran Mbenza
Musical Assistance – Gary Djoli
Photography By – Studio Kadela
Rhythm Guitar, Bass Guitar – Bopol Mansiamina
Vocals – Ballou Canta, Bony Bikaye, Nyboma Mwan'dido, Pambou-Tchicaya Tchico, Wuta Mayi


A collection of the best dubs from the '70s and early '80s by producer Blackbeard and the backing band Ring Craft Posse. Rodguel 'Blackbeard' Sinclair, Tappa Zukie's brother, was Bunny Lee's right hand man for many years and meanwhile owns Tubby's old studio in Kingston. -Moll-Selekta

'This is excellent groove based musical dub. Sly and Robbie play on these tracks which groove and percolate. Not as spacey as some dub, these are driven along via the tracks original melodies. Very enjoyable, very listenable.' -zphage

'St. Catherine in Dub 1972-1984 beautifully captures a snapshot of a special place and time musically, as well as a particular musical equation involving dub producer Rodguel "Blackbeard" Sinclair and his backing band, the Ring Craft Posse. The where, when, and who of St. Catherine in Dub 1972-1984 result in a delightful collection of 14 previously unreleased, newly remastered dub recordings named after various sections of St. Catherine, Jamaica. These dubs may or may not already be familiar to you in their original incarnations; for instance, the opening dub, "West Bay," is a version of Burning Spear's "Joe Frazier." Then again, unless you're a real wiz about '70s reggae like the folks at Moll-Selekta, the reissue label responsible for putting together this package and many others like it, chances are you probably won't know many, if any, of these recordings in any version. That's perfectly fine because these dubs stand tall on their own, each clocking around four minutes, and are wonderfully variable. You never really know where Blackbeard is going to take you with the given song, and there's always a warm, hazy instrument fading in or out of the mix, along with the occasional echo of a ghostly singing voice. The Ring Craft Posse are a real joy to listen to, dubbed or not, yet they're especially a delight here, as Blackbeard's production, Jah Thomas' mixing, and Moritz Von Oswald's remixing are sensitive to the band's original intent -- these studio hands are here to accentuate the band, not reshape it. The same can be said for Moll-Selekta, who show much reverence for the Ring Craft Posse's legacy. The packaging of St. Catherine in Dub 1972-1984 is handsome and well-crafted, including some liner notes by Hans Peter, some nice vintage photos of Jamaica by Julian Thomann, and an archaic map of the island that highlights St. Catherine.' -AllMusic Review by Jason Birchmeier

'This is the best release in Moll-Selekta's catalogue. They've developed a working relationship with producer Blackbeard, the current proprietor of the late King Tubby's studio, to release his extensive back catalogue. This compilation spans an eternity in musical developments in Jamaica — 1972 to ‘84 — but the dub mixes are remarkably consistent. The mixing engineer is Jah Thomas, who produced many worthy dub albums during this period including the all-time classic Black Ash Dub with Sly and Robbie. The Riddim Twins are the drive behind the Ring Craft Posse, which is yet another alias for their working bands of the ‘70s and early ‘80s. St. Catherine in Dub takes on rhythms popularised by Michael Rose, Lee Perry, Dennis Brown, Horace Andy and more. Thomas’s technique is more in line with the distorted, textural treatments favoured by Lee Perry than the thundering polyrhythms of Tubby, but he has clearly absorbed the best of both worlds. The long timeframe makes for a great diversity of rhythms and demonstrates all the technological toys that contributed to the vitality of dub in this period. Perhaps the producer's home base in Portmore in the parish of St. Catherine, just down the road from Kingston, gave him a fresh perspective on the mixes. There are an awful lot of dub collections to choose from, so to find one in 2004 that still sounds fresh, even with familiar rhythms, is a major achievement.' (Moll-Selekta) -By David Dacks

'The Ring Craft Posse - Waterford'

''Felt the need to throw up the strangest track from Sly and Robby's great underwater Dub group. You know how Timbaland does that beat boxing thing to find a rhythm, and leaves it in the track? That stuff happens here too, with plenty of tape delay. The weed smoke wasn't able to reach these duppies crawling through the Caribbean Sea.''

'My radio co-host took to St. Catherine in Dub as readily as I did. Maybe thats proof of the claim made in the liner notes that this album is a perfect introduction for the uninitiated to get familiar with this particular genre within Reggae. The notes cite technical excellence and outstanding creativity and innovation,” but to my mind the reason its such a perfect introduction is because it is just so friendly.

Friendly. Yet the dub is as strong and uncompromising as one would expect given the source and era involved. So what makes this recording more approachable than many others? Maybe first because instead of disjointed vocals wafting in and out, echoing and reverberatingwhich can be unfamiliar and unsettling to newcomersthe vocals are almost omitted altogether. And maybe secondly because the sound is seldom reduced solely to bass and drums. The combination has produced something more like an instrumental set than other hard-core dub albums tend to be. Thats my theory.

Even for long-term fans, the name Ring Craft Posse may not be familiar, but the names of its individual members certainly are. Sly Dunbar, Robbie Shakespeare, Ansel Collins, Lloyd Parks, Tommy McCook, Dean Fraser, Bobby Ellis, Winston Wright, Augustus Pablo, Earl Chinna Smith: these and other reggae stalwarts were brought together in various permutations by producer Rodguel Blackbeard Sinclair during the classic years of roots reggae. The resulting tracks were mixed by Ruddy Jah Thomas, and are available for the first time on this CD, encased in a beautiful glossy centerfold package. It even includes an old map of Jamaica showing the parish of St. Catherine, from which the album gets its name.

Curiously, the 14 tracks are named for districts within St. Catherine, therefore a title like West Bay cannot convey its pre-dub origins, in this case an old horn-driven Burning Spear song. But who needs such extraneous info with so much else to pay attention to? The quick shuffle Garvey Meade has a busy arrangement with swirlings and clangings; I think they managed to get the kitchen sink in there too. Cumberland has wonderful dynamics, its gentle organ somehow yielding a pleasant tune despite the dub effects; the aggressive Waterford, on the other hand, features lots of bashing of drums. Bridge Port is adventurous in its jazzy extended notes. Not until track 10 do vocals start showing up, which they do as short bites of sound rather than as lyrics. The only words conveying meaning of any sort come in the second last track, when love one another is clearly discernable. I like that.

In fact I like the whole album. Creative dub, yes; technically excellent dub, yes. But user-friendly dub, ahh, thats the key to this one.' -Ted Boothroyd

Rodguel "Blackbeard" Sinclair

Artist Biography by Jason Birchmeier

'One of the more revered producers of '70s dub reggae, Rodguel "Blackbeard" Sinclair worked with a long list of musicians over the years, most notably his backing band, the Ring Craft Posse. The backing band never became as well known as luminaries like the Aggrovators, the Revolutionaries, or the Roots Radics, but they were nonetheless excellent and quite luminary themselves, especially in retrospect (thanks to the Moll-Selekta label for issuing a number of top-shelf collections). Blackbeard worked closely with them for years, roughly from the early '70s into the early '80s, during which time they recorded songs for innumerable Jamaican singers while he manned the boards. Blackbeard would often make dub versions of Ring Craft Posse backing tracks, an album's worth of which are compiled on Moll-Selekta's pristine St. Catherine in Dub 1972-1984 collection. The pioneering dub producer learned his trade from Bunny Lee, whom he worked with side by side for years, and he perfected his trade at King Tubby's old studio in Kingston, Mr. Tipsy, which he made his own.'

1. Westbay 4:14
2. Garvey Meade 4:14
3. Passage Fort 3:49
4. Cumberland 3:51
5. Caymanas Park 4:48
6. Waterford 4:15
7. Edgewater 3:51
8. Bridge Port 3:51
9. Braeton 2:51
10. Portsmouth 3:00
11. Independence City 2:51
12. Naggo Head 4:15
13. Westchester 3:45
14. Southboro 3:39

Bass – Lloyd Parks, Robbie Shakespeare
Drums – Mickey Richards, Sly Dunbar
Guitar – Winston Bopee, Dwight Pickney, Willie Lindo
Horns – Bobby Ellis, David Madden, Dean Fraser, Roland Robinson
Organ, Piano, Keyboards – Ansel Collins, Herbie Harris, Robbie Llynn, Winston Wright
Producer – Rodguel "Blackbeard" Sinclair

All tracks named after districts of Portmore in St. Catherine, Jamaica.



'Classic Highlife music from Ghana recorded 1981-1984 during the country's revolutionary period. The Guitar And Gun was recorded at a time of severe economic austerity that had adversely affected the existence of most recording studios and music clubs, and the purchase of musical instruments. Nevertheless Bokoor Studio kept the show rolling. From the stunning harmonies and rolling percussion of Salaam And His Cultural Imani Group to the skittering guitar wizardry of F. Kenya's Guitar Band you can hear the influences of traditional music, gospel and Western sounds. This timeless music sounds as good today as it did when originally released.'

Best of Highlife Ghana

'Classic Highlife music from Ghana recorded between 1981 and 1984. It happens that during this period of time, Ghana was in civil war, a time of severe economic austerity not helpful for making music but in Bookor Studio creativity was at its peak. This cd is remastered from the original The Guitar and Gun tapes, never before on cd, with a superior quality of sound, reason why some not so well remastered songs aren't included here, it's a pitty. But, listen to the stunning harmonies of Salaam And His Cultural Group, the guitar wizardry of F. Kenya's Guitar Band, Roots Gospel from Genesis Gospel Singers and Baptist Disciple Singers, all timeless classics for those who like Highlife.' -Nuno Leal Da Silva

'The local highlife music scene in Ghana nearly perished due to the economic adversity (and the institution of severe curfews) that came in the wake of Jerry Rawlings' military coup in the early '80s. Many clubs, music centers, and studios were forced to close, but somehow Bokoor Studio was able to keep the tapes rolling, thanks mostly to John Collins, who recorded and produced the tracks found on The Guitar and Gun. Originally released on vinyl in two volumes, this digital reissue collects most (but not all) of the cuts found on the initial releases. Highlights include the relaxed vocals and rolling percussion of Salaam And His Cultural Imani Group on "Moko Baba" and "Ekee Obi Le," which charmingly combine palm-wine music with a kind of jug band mentality. Samuel Paa Gyimah's bright guitar work (on "Oh Papa" by F. Kenya's Guitar Band) skitters and flies at the speed of light itself. The African doo wop of the Genesis Gospel Singers on "Momma Mo Akoma Ntutu," which opens the album, is a particular delight with its easy, rolling pace. Aside from its historical value, The Guitar and Gun is recommended for the strength of the music, produced under adverse conditions, and the careful sequencing, which allows it to breathe and shine. The only negative is that some of the tracks from the original two-volume vinyl set are missing here, undoubtedly due to time constraints.' -AllMusic Review by Steve Leggett

The Guitar And Gun - Highlife Music From Ghana (Earthworks)

1. Genesis Gospel Singers - Momma Mo Akoma Ntutu 4:00
2. Salaam And His Cultural Imani Group - Mama Shile Oga 5:26
3. Kuntum 13 Band - Ye Beko Yesu 5:11
4. F. Kenya's Guitar Band - Nyameco 6:39
5. Calvary Bells Supreme Christian Singers - Atamfo Na Maye No Dienben 3:21
6. Baptist Disciple Singers - Awurade Yesu 4:26
7. F. Kenya's Guitar Band - Oh Papa 6:15
8. Blind Dzimsan And His Morkpolawo Group - Nulake Kple Fuwo 3:02
9. F. Kenya's Guitar Band - Engeme Ma Menko 5:38
10. Salaam And His Cultural Imani Group - Moko Baba 4:14
11. Wofa Rockson & His Highlife Dance Band - Me Nyame Boa Me 6:58
12. Salaam And His Cultural Imani Group - Ekee Obi Le 5:21
13. F. Kenya's Guitar Band - Nyame Bowade 5:29

The original two-volume vinyl set (Digital)

The Guitar and The Gun - A Collection of Ghanaian Highlife Dance Music (Africagram Records)

1. Genesis Gospel Singers - Momma Mo Akoma Ntutu 3:27
2. Salam's Cultural Imani Group - Mama Shile Oga 5:53
3. Kuntum 13 - Ye Beko Yesu 5:18
4. F. Kenya - Nyameco 7:57
5. African Internationals - Noko Nya M'Akire 5:56
6. Supreme Xian Singers - Mmra Ye Tiaseyi Moma Yen Sum 3:24
7. Babtist Disciple Singers - Awurade Yesu 4:39
8. F. Kenya - Oh Papa 7:00

Artwork By – Ja Mensphe-Lan
Compilation Producer – John Collins
Photography [Photos] – Eddie Bru-Mindah
Information: Bokoor Recording Studio, Pfankor, Accra, Ghana.

The Guitar and The Gun II - Another Collection of Ghanaian Highlife Dance Music (Africagram Records)

1. Blind Dzissan And His Morkpolawo Group - Nulake Kple Fuwo 3:07
2. Baptist Disciple Singers - Munyi Awarde 3:00
3. F. Kenya - Engame Ma Menko 5:45
4. Salam's Cultural Imani Group - Moko Baba 4:26
5. Wofa Rockson - Me Nyame Boame 7:10
6. Adinkta - Nwan Na Oodo Me 10:05
7. Kuntum 13 - Enye Sika Ni Ahu To 4:28
8. Prince Kwese Menu - Nsu Abo Boz 5:09
9. Blind Dzissan And His Morkpolawo Group - Amama 3:14


Lost and found dub counterpart to Flick Wilson’s "School Days" album. This set is described by the label as classic Scientist 1980 style mixing. This usually means hard and sparse with focus on the bare essentials – bass and drums.

"Totally killer previously unreleased dub companion LP to Flick Wilson's School Days LP. Jah Life was no slacker when it came to mixing dubs, and sat in with Scientist at King Tubby's for the mixing of many of the classic Junjo/Radics/Scientist albums. But more importantly, they also mixed a ton load of dubs for Jah Life himself, many of which, like this album, remain unreleased... until now! Nine out of ten tracks from the Flick Wilson album are dubbed here, and one track from the Wayne Jarrett's What's Wrong With the Youths album. Classic Scientist 1980-style mixing, nothing else like it, hard stuff. Cover features a fantastic previously unseen photo from Beth Lesser."

In addition to Stephen Cooper’s part 1 of his interview with Scientist, and while awaiting its 2nd part we feature reviews of a selection of dub albums from a mixing engineer who made the most innovative strides in the development of dub techniques since King Tubby’s initial experiments.

Issued on vinyl in 2014, and in 2015 also made available on cd by Brooklyn NY based Deeper Knowledge Records (DKR), is a Scientist album with the intriguing title “The Dub Album They Didn’t Want You To Hear!”. As the title and the cover with a great photo of a young Scientist at the controls – courtesy of Beth Lesser – clearly indicate, this is not a contemporary album mixed by Scientist, but one that has been dug up and dusted off.

Overton Brown, the mixing engineer who became known as Scientist while mastering his craft at King Tubby’s Dromilly Avenue studio, initially created dubs of reworked Studio One riddims for Don Mais’ Roots Tradition label, but was given his chance at King Tubby’s when Prince Jammy cut short a mixing session for Don Mais because he was too tired to continue. After Scientist had left King Tubby’s studio, he became the principal engineer for the Hoo Kim brothers’ Channel One Studio. In the early 1980s he came to prominence with a remarkable series of dub albums, released by Greensleeves Records.

“The Dub Album They Didn’t Want You To Hear!”, a long hidden treasure from the early dancehall days, is the previously unreleased dub counterpart to Flick Wilson’s “School Days” album. This rare and in demand Flick Wilson album from the early ’80s – at the time only released in NYC, but in 2012 reissued on the Dub Irator label – was produced by Hyman ‘Jah Life’ Wright and Henry ‘Junjo’ Lawes and featured the Roots Radics at Channel One and Scientist at King Tubby’s. The combination of the typical heavy Roots Radics riddims from those days and Scientist’s wizardry at the mixing board makes this a wicked dub companion to the vocal set. “The Dub Album They Didn’t Want You To Hear!” has nine out of ten tracks from the “Schooldays” album, and one track from Wayne Jarrett’s “What’s Wrong With The Youths” LP, namely “Rockers Dub”, which all have been given the dub treatment in classic Scientist style. From the excellent album opener, “Jah Turn Them Dub” to the strong “School Days Dub”, the last track of this album, the listener is treated to some great classic stuff from the Roots Radics and Scientist. -by Mr.T at Reggae Vibes

1. Jah Turn The Dub 2:37
2. My Lady's Dub 2:36
3. Yallas Dub 4:01
4. Slave Master Dub 3:30
5. Where Wicked Gonna Dub 3:18
6. Facts Of Dub 2:43
7. I Don't Mind Dub 3:15
8. Don't Give Up Your Culture Dub 3:49
9. Rockers Dub 2:41
10. School Days Dub 3:17

via New York

Classic early dancehall LP, via New York

'Flick Wilson's "Schools Days" is a rough and tough roots album and a collector’s choice. A true hidden gem. His falsetto voice is very distinct.'

'Originally released 1980, first ever reissue. Lovely falsetto vocals a la Junior Murvin. Heavy Scientist mixing. Flick Wilson's "School Days" album has long been one of our all-time favorite LP's through it's killer combination of super heavy Roots Radics rhythms, wild Scientist mixing, and the Flick's unique singing, often with falsetto. Never widely available and only ever released in NYC, it's now deservedly reissued.' -DeeJay.De

'Previously rare and in demand album from Flick Wilson aka Dandy Lion of Vives fame, only ever issued in the US back in the early eighties, produced by Hyman 'Jah Life' Wright and Henry 'Junjo' Lawes and featuring the Roots Radics at Channel One and Scientist at King Tubby's at the height of their powers. These are the tracks that make up the bulk of the sensational and previously unreleased Scientist dub LP recently issued on Jah Life through Digikiller; The Dub Album They Didn't Want You To Hear.' -Dub Vendor

1. I Don't Mind 3:52
2. Yallas Pond 3:38
3. Slave Master 3:06
4. Where Wicked Gonna Run 3:20
5. Facts Of Life 3:38
6. School Days 2:58
7. My Ladie 2:46
8. Jah Turn Them Down 3:27
9. Don't Give Up Your Culture 3:07
10. Pretty Blue Eyes 3:04

Backing Band – Roots Radics Band
Bass – Errol "Flabba" Holt
Cover, Design – O'Neil Nanco
Drums – Carlton "Santa" Davis
Engineer – Prince Jammys, Scientist
Guitar [Lead] – Earl "Chinna" Smith
Guitar [Rhythm] – Bo Peep
Keyboards – Ansel Collins, Gladstone "Gladdy" Anderson
Percussion – Christopher "Sky Juice" Blake
Producer – Henry "Junjo" Lawes, Hyman "Papa Life" Wright

Recorded at Channel One, Voiced & Mixed at King Tubby's, Kingston Jamaica WI.


Compilation of Blackbeard production (mostly late 70's material).

'Two years after the start of our collaboration with Jamaican producer Rodguel "Blackbeard" Sinclair, we are pleased to present the first compilation dedicated to his rich catalog: Blackbeard Calling. Often little known in our latitudes, the Honorable Black Beard, as he is nicknamed in Kingston, first stepped in a recording studio in 1968. It was on the occasion of an organized session at the Dynamic Sounds studio, for the recording of the iconic stone “Let Me Go Girl”, played by Slim Smith. Brother of the famous DJ Tappa Zukie and protégé of the late producer Bunny Lee, Barba Preta patiently built his career, until he created his own record label, the Hulk, in the mid-1970s. To honor him, we selected a dozen titles produced in the second half of the 1970s.' -Patate Records

1. The Mighty Diamonds - Jah Jah Bless the Dreadlocks 2:45
2. Jacob Miller - False Rasta 2:32
3. Horace Andy - Free Africa 3:46
4. Ken Boothe - Fattie Bum Bum 3:28
5. Ring Craft Posse - Cumberland 3:49
6. Wayne Jarrett - Mount Zion 3:15
7. Johnny Clarke - Don't Know Who to Trust 3:05
8. Barry Brown - Separation 4:46
9. Culture - Police Man (Respect Version) 4:00
10. Black Uhuru - Give a Little 4:03
11. Flick Wilson - Jah Rules Forever 2:46
12. Ronnie Davis - My World 2:56

Backing Band – The Aggrovators, The Ring Craft Posse, The Roots Radics
Compiled By – Emmanuel Jaussely
Engineer – Errol Thompson, King Tubby, Michael Riley
Mastered By – Emmanuel Jaussely
Producer – Rodguel "Blackbeard" Sinclair

17 Jan 2021


GHANA KING OF HIGHLIFE! Like the Owerri dialect synergy! Timeless sounds.

Keeping the spirit of original Ghanaian music alive!

Abanfo Citistyle Band
Citi Style Inter. Band Of Ghana, Citisty Band Of Ghana, Citistyle, Citistyle Band, Citistyle Int. Band Of Ghana, Citystyle Band Of Ghana, The Citistyle Band Of Ghana

See also

City Style Band - Mame Gyaisu
1. I Go Die 4:50
2. Mese Hmm Hmm 5:00
3. Mame Gyaisu 4:48
4. Odo Ko 4:52
5. Se Ebe Ye Ye 4:57
6. Ana Re Ayeawure 5:10

Citystyle Band - Oya
1. Oya 5:23
2. Enye Bribi 5:14
3. Mafe Odo 5:32
4. Na You Causam 5:13
5. Okukuseku 5:33
6. Odo Beba 5:19

Citystyle Band of Ghana led by Pryce Kwaku Armah - Weather Hard Oo!
1. Weather Hard Oo 6:16
2. Babaa - Babaa 4:38
3. Dey No Dey No 5:00
4. Kamayesie Sie 5:23
5. I' for You 6:02
6. We Go Play 5:26
7. Weather Hard Oo, Pt. 2 5:38


Responsible for one of Trojan Records’ most well-loved hits, 1969’s ‘Long Shot Kick De Bucket’, The Pioneers are one of the greatest creative success stories of the reggae genre. Two of the most popular original Trojan albums of the boss reggae era. The “Battle Of The Giants” LP makes its CD debut. Features rare and previously unissued bonus tracks.

'One trio that not only succeeded but blossomed following the onset of reggae, is The Pioneers, who in 1969 became one of the first Jamaican acts to achieve international success with their UK hit, “Long Shot Kick The Bucket”. Their third album Battle Of The Giants is a little bit softer compared to their previous records, and it even features a soul ballad. “Consider Me” and the title track “The Battle Of The Giants” are two of the best-known songs from this album. The collection is a must-have for all self-respecting fans of boss reggae and is now finally available once again.'

A more than satisfying Pioneers overview from their Leslie Kong period.

In the early 60s The Pioneers were formed by the brothers Sydney and Derrick Crooks and Winston Hewitt. When Winston left for Canada he was replaced by Glen Adams. They enjoyed little success with their recordings, but when they teamed up with producer Joe Gibbs they scored several hits. The group parted ways with Gibbs after an argument and moved on to work with Leslie Kong, the first recording for Kong being “Samfie Man”, a song about a confidence trickster, which topped the Jamaican singles chart. The trio consisted of the Crooks brothers and George Dekker (half brother of Desmond Dekker). With Kong the group cut more successful singles such as “Easy Come Easy Go” (here presented in two versions), and “Mother Ritie”, and he released two albums. The tunes recorded between 1968 and 1970 were always big favorites of the skinhead teen cult in the UK. Not much later the members pursued solo careers, though The Pioneers have made infrequent records and stage appearances. Just recently Sydney Crooks has released the album Norris Cole & The Pioneers – “Peace Justice Liberty”, check the review here.

This cd comprises the albums “Long Shot” from 1969 on Trojan Records, produced by Leslie Kong and “Battle of the Giants” from 1970 also on Trojan Records and also a Leslie Kong production. As a bonus you’ll find seven rare and previously unissued tracks. Extensive liner notes and nuff pics complete this excellent release.

The music here is a good example of early reggae, fast paced and full of energy, opposite to the relaxed style of rocksteady. The collection gathers pop/soul covers as well as the aforementioned hit tunes. The first LP -Long Shot- is the better set, with outstanding tunes like “Samfie Man”, “Long Shot Kick De Bucket” and “Long Up Your Mouth”. The second LP is ‘softer’ and even features a soul ballad, “Consider Me”. “The Battle Of The Giants” is a well known song. From the bonus tracks it’s “Easy Come Easy Go” recorded 1968 which is an outstanding effort just like the fast paced “Mettle” and the soulful tune “Just Enough (To keep Me Hanging On)”. -by Teacher at Reggae Vibes

New release featuring two of the most popular albums of the Skinhead Reggae period by The Pioneers, including their UK hit single Long Shot Kick De Bucket (covered by the Specials among others)…LTW’s Ian Canty hears the best of the trio’s recordings with Leslie Kong behind the studio deck…….

'Though originally coming together in the early 60s, The Pioneers’ line-up that recorded these two albums only materialised just before their big breakthrough. The Crooks siblings Sydney and Derrick had got together with pal Winston Hewitt in the original version of the Pioneers and this aggregation recorded several Jamaican hits for Joe Gibbs. When Derrick and Winston had been replaced come 1968 by Desmond Dekker’s half brother George Agard and songwriter Jackie Robinson, the group switched to Leslie Kong’s Beverley imprint (already home to Agard’s brother and his glorious run of success).

With the ‘classic’ version of the band in place they hit the UK charts with Long Shot Kick De Bucket, which stopped just short of the UK Top Twenty in 1969. This record became a firm favourite with the skinhead youngsters that had embraced Reggae music in the late 60s and the accompanying album which makes up the first segment of this reissue was also highly valued by the short-haired fans.

The Pioneers prospered under Kong’s tutelage and Long Shot the album was everything you could wish from a Skinhead (or Boss) Reggae LP. It was even originally issued at the cost of just under a pound, making it within even a pretty skint Boot Boy’s range. This low price however ruled it out of chart action, but the record was a big seller and a fondly remembered waxing. It still sounds good today, age having not withered it at all.

Long Shot captures The Pioneers at the height of their powers, their vocal back-and-forth welded to that driving beat, caught right when it was most fresh. Hugely enjoyable and entirely self-penned too, obviously the title track catches the eye (or more accurately, the ear), but there’s plenty more to this LP.

Poor Rameses may follow the formula of Long Shot, but it’s an enjoyable diversion and Long Up Your Mouth benefits from a wonderfully bouncy bass line and triple vocal attack. Bring Him Come has some lovely organ touches and soulful vocal and Boss Festival throws some Gospel-style singing into a rough Reggae mix. There’s barely a duff track here, with single Samfie Man (perhaps a jibe at former producer Gibbs) another winner with a real groove and Mother Ritty (the flipside to Samfie Man when released as a single) a tad slower with a nice, delicately picked out melody. A very satisfying LP on the whole.

By the time of Battle Of The Giants, The Pioneers were spending a great deal of their time in the UK, but always went back to Jamaica to record. Even so, some adornments were added on top of the rawer JA mixes before they were presented to British audiences, as happened to a great deal of Reggae recordings as the boom of ’69 cooled down. As 1970 went on hits had started to be harder to get, so in a nutshell the beat was softened for Pop/commercial purposes. There was some amendment to the UK issues and Battle Of The Giants was affected by this, but listening to it now I didn’t find the add-ons overbearing in any real way.

Basically this is another strong set by The Pioneers, though they were moving in a Soul direction which they would pursue more heartily as the years went on. Another mix of previously released single material (in fact Samfie Man featured on both albums) and newer tracks cut for the album, Battle Of The Giants didn’t bother the charts, but this was a classy enough offering with some strong songs. The two covers, Slip Away and the ballad Consider Me (original recorded by Eddie “Knock On Wood” Floyd, here a vocal showcase for Jackie Robinson) show how well the band could handle that different Soul style, but they also score with speedy Gorgeous And Marvellous and a charming Reggae love song in Now You Are Gone. The title track is excellent, a storming piece of Skinhead Reggae at this right up there with their best.

In addition to the two platters we get seven bonus tracks too. It’s great to hear the Rocksteady version of Easy Come Easy Go (the Reggae reading of the song is also among the extras), it has a lovely, lazy sounding and exotic feel. Cha La La, I Need You again shows the Pioneers Soul inclinations to good effect and Pee Pee Cluck Cluck belies the silly title, a nice guitar crash here and there assisting another solid Boss Reggae outing.

This new twofer is a great way to find the prime of the Pioneers in one big hit. At the time of recordings they were one of the biggest acts both at home in Jamaica and also with the ex-pats domiciled in the UK and the new fans, the skinheads who treasured the Long Shot album as a key demonstration of the potency of Reggae. A nice sleeve-note gives a good band history with some rare photos, you can’t go wrong with this reissue. The Pioneers were one of the top bands of the Skinhead/Boss Reggae era and here is the proof.' -Ian Canty

Long Shot (1969)
1. Long Shot Kick De Bucket 2:52
2. Caranapo 2:09
3. Black Bud 2:06
4. Long Up Your Mouth 2:04
5. Bring Him Come 2:24
6. Mother Ritty 3:12
7. Poor Rameses 2:34
8. Samfie Man 3:00
9. Belly Gut 1:54
10. Lucky Side 1:57
11. Trouble Dey A Bush 2:22
12. Boss Festival 2:42
Battle Of The Giants (1970)
13. Money Day 2:24
14. Consider Me 2:36
15. Driven Back 1:53
16. Gorgeous And Marvellous 3:14
17. Now You Are Gone 3:30
18. Battle Of The Giants 1:57
19. Slip Away 2:25
20. Cherie Cherie 2:39
21. Simmer Down Quashie 1:57
22. Twice Around The Daffodils 2:56
23. Mally Mally 2:56
Bonus Tracks
24. Easy Come, Easy Go (Rock Steady Version) 2:38
25. Pee Pee Cluck Cluck 2:19
26. Mettle (aka Mickle) 2:17
27. Just Enough (To Keep Me Hangin' On) 2:32
28. Cha La La, I Need You 3:05
29. Get Ready 2:42
30. Easy Come, Easy Go (Reggae Version) 2:46


Golden Age Reggae from a Legendary Producer

'Essential collection of seventies Golden Age roots reggae produced by one of the music's unsung heroes Clive Hunt aka Azul aka Lizzard. Some bona fide classics here including the Abyssinians' glorious Tenayistillin Wandimae, Pablo Moses' We Should Be In Angola, the In Crowd's Milk & Honey, alongside collector's rarities from Junior Murvin and I Roy, Sylford Walker and two from Bonnie Gayle plus gems from Dennis Brown and Marcia Griffiths. A fitting tribute to the man's work.'

'Bad, Bad, Bad is a historical compilation of Clive Hunt’s exceptional 1970s and 80s roots reggae productions, featuring various artists that helped build his reputation. The collection includes rare tracks by Bonny Gayle, Dennis Brown, The Abyssinians, Junior Murvin, Max Romeo, and Marcia Griffiths, among others, including Hunt himself in his ‘Lizzard’ persona and as the lead singer of the In Crowd.'

'Although not as celebrated as some of his Jamaican peers, Clive "Azul" Hunte was responsible for producing some of the finest roots reggae to emerge from the island in the 1970s and '80s. Bad Bad Bad is therefore an essential retrospective, which much of the material focusing on his golden period between 1973 and '76. While there are some impressive cuts from big names present - see Junior Murvin's slow-motion reggae-soul cover of Curtis Mayfield's 'Give Me Your Love', the skanking weightiness of I-Roy's 'Flying High' and the classical reggae sweetness of Dennis Brown's 'Love Light' - much of the best material comes from lesser-celebrated artists such as the In Crowd, Pablo Moses, Bonny Gayle and Jam Now Generation. In a word: essential.'

Born in Linstead, St. Catherine, Clive Hunt is a multi-instrumentalist, arranger, composer, and producer whose career spans more than four decades. Since a few years his a VP Records-signed producer who has produced for artists such as Etana, Jah Cure, Maxi Priest, Jah9, Richie Spice, and Queen Ifrica. In 2016, he produced the compilation We Remember Dennis Brown for the label. In the late ’70s, he was involved in playing on a number of recording sessions including Culture’s Cumbolo for producer Sonia Pottinger. He then emigrated to New York where he worked with Joe Gibbs and Lloyd ‘Bullwackie’ Barnes. For the latter he played on sessions and performed as a soloist, recording as Clive ‘Azul’ Hunt. In 1987, he was deported from the US on drug-related charges. Four years after he had returned to Jamaica, he checked himself into rehab and has since re-established himself as a successful producer, working with many top artists.

Being associated with VP Records it was just a matter of time before Clive Hunt’s classic productions would be (re-)issued. And this happened with the release of the compilation set Clive “Azul” Hunt Presents Bad Bad Bad on VP’s subsidiary label 17 North Parade. The 15-track CD (12 tracks on the vinyl LP) gathers a selection of Clive Hunt produced roots tunes from 1973 to 1976. And a great selection it is, especially as it includes some of the producer’s most sought after 7″ singles from that golden age of reggae.

The compilation instantly commands the listener’s attention as things get started with The Abyssinians’ 1975 roots killer Tenayistillin Wandimae. Originally released in Jamaica on the Antrim label and on the Tropical Sound Tracs imprint in the UK, it’s Geoffrey Chung who’s credited on the label as the producer of this gem. Whether this piece was produced by Clive Hunt or Geoffrey Chung certainly won’t bother the reggae fan because this is three-part harmony at its very best. Next comes Sylford Walker’s matching I Can’t Understand, a single from 1976 that featured the heavy dub version called Bad.. Bad.. Bad.. on its flipside. Probably that’s where the title of this album comes from, but it also would have been a good move if they had included the dub here as well. The opening part is rounded off with the 1975 released single I Can’t Change My Skin by Linval Simms aka Bonnie Gayle (an original member of The Viceroys), which is another scorcher.

Bonnie Gayle is present with a second track, the solid Mellow Up Yourself, and also the In Crowd and Clive Hunt under the pseudonyms Azul and Lizzard are around with two efforts. In Crowd’s Milk And Honey, amongst most fans best known from Dennis Brown, is followed by Azul’s instrumental version titled Bitter Sweet, before Lizzard delivers a noteworthy vocal cut titled Satta I. Even though vocals are also included, In Crowd’s Mango Walk is a nice soul reggae instrumental. Junior Murvin makes a very good impression with his tough rendition of Curtis Mayfield’s Give Me Your Love, while the deejay cut by I Roy, Flying High aka Superfly, is an awesome King Tubby mixed piece. With furthermore Pablo Moses’ We Should Be In Angola, Max Romeo’s Tacko, and Dennis Brown’s Love Light on the tracklist, you know this is a wonderful collection of classic tunes! -by Mr.T at Reggae Vibes

Clive Hunt: Riddims And Rehab

The revered Jamaican producer on overcoming drug addiction and working with some of the best artists in the business

Written by By Anethe Carvalho

CLIVE HUNT can easily be described as reggae royalty. With a career that spans over 40 years, the acclaimed Jamaican music producer has worked with reggae, rock and soul music heavyweights, including Peter Tosh, Grace Jones, Stevie Wonder, The Rolling Stones and many other great artists.

Since teaming up with iconic reggae label VP Records, Hunt has been exploring the contemporary reggae sound by working with new artists to maintain and preserve the genre.

A multi-instrumentalist – he plays the trumpet, bass guitar, keyboards and saxophone – arranger, composer and producer, Hunt lived in New York in the late 70s and developed his skills working with fellow reggae talents Joe Gibbs and Lloyd Barnes. However, his American residency came to an end in 1987, after he developed a cocaine addiction and was deported for drug-related offences.

Eventually, the producer bounced back and re-established himself as a force to be reckoned with, teaming up with artists such as Jimmy Cliff, Beres Hammond, Garnett Silk and more recently Etana and Jah Cure.

His most recent offering was the compilation album, The Biggest Reggae One Drop Anthems 2015. Solely produced by Hunt, the album featured a host of talents, including Luciano, Richie Spice, Capleton and Ikaya.

Here, the producer talks to Life & Style about reggae, riddims and rehabilitation.

You boast several titles – musician, producer, composer and arranger. Is there one you enjoy the most?
I’m first of all a musician. I used to spend 14 hours a day playing and I tell people that my secret as a producer is that I’m an arranger. I use my skills as an arranger and it gives me a little edge, so I would say I’m an arranger/producer.

What is your proudest professional achievement to date?
Creatively there have been so many things for me, because I have been doing music my whole life. Back in Jamaica, I became helpful to the reggae people of the day by working with the best reggae DJs of the time. Since then I have done so many things. I am really proud of my work with Peter Tosh, and arranging with The Rolling Stones and Jah Cure; being the only signed producer on VP Records; and working with Jimmy Cliff.

What do you think of the current state of reggae music?
I really do like the current state of reggae right now and I believe that just like how other countries preserve their music, all reggae music should also be preserved. I take great pride in what the young people are doing right now and I take greater pride that even with my 40 years of working in the studio, I’m still working with the young artists.

You have worked with musicians from a variety of genres. Have you found a difference in work ethic between reggae and non-reggae artists?
Yes. There is quite a difference, not so much creatively but in their [reggae artist’s] personal approach to work. Maybe because of our upbringing or the social fibre of Jamaica, once the artists start getting a certain amount of attention they become different people – like little monsters. They don’t turn up on time, they argue back and they don’t do the things that are expected from them.

But I feel for them because they get sling-shot into this world of excitement, cars and pretty girls and they feel like they are the centre of the universe and don’t know how to act.

I have worked with major artists and they are very professional and they listen to the producer. Reggae artists want to control the situation and I hope that changes so people won’t start giving up on them.

Who are a few of the artists you have enjoyed working with the most and why?
I find that as I get older the artists who are more professional are the ones I relish the most. Geoffrey Chung, he was the first person I learned from in terms of producing. There have been a few people that have stayed in my mind like Jimmy Cliff and Peter Tosh. I mention them daily to the kids I work with.

It’s well known that you battled with addiction to cocaine in the past. How difficult was it for you to get clean and what advice would you give to young musicians who might be tempted to dabble in drugs?
That’s something very dear to my heart. I got involved in drugs because people around me were doing it. I was rubbing shoulders with the biggest people in the industry and one day one of my friends showed it to me and for 11 years, I went from the highest high to the lowest low.

But because of my skills and professionalism, I was still able to work. Also, thanks to my mother and a friend, I went to rehab and I have been clean since February 1991. I would say to young musicians who are thinking about trying it – don’t do it! I have been living a clean life and I hope this serves as an example to the young people out there.

1. Abyssinians - Tenayistillin Wandimae 3:33
2. Sylford Walker - I Can't Understand 2:49
3. Bonnie Gayle - I Can't Change My Skin 3:31
4. Pablo Moses - We Should Be In Angola 3:37
5. In Crowd - Tacko 2:51
6. In Crowd - Milk & Honey 2:47
7. Azul - Bitter Sweet 3:05
8. Lizzard - Satta I 2:29
9. Bonnie Gayle - Mellow Up Yourself 3:02
10. Junior Murvin - Give Me Your Love 2:07
11. I Roy - Flying High 2:23
12. In Crowd - Mango Walk 3:24
13. Jam Now Generation - Peacemaker 3:02
14. Dennis Brown - Lovelight 3:29
15. Marcia Griffiths & Nigger Kojak - Untrue Love / Come Inna Dis 5:01

16 Jan 2021

North Carolina

Legendary Music from South Turkey Creek

'South Turkey Creek, which became something of a Mecca for old time music fans, was home to the legendary singer, banjo player and fiddler Bascom Lamar Lunsford, who had first recorded in 1924, as well as that of Walter "Red" Parham, an extraordinary harmonica player and guitarist (and colorful figure). It was also the inspiration and occasional resting place for the late George Pegram, the much acclaimed banjo player and singer. There's no mistaking the authentic sound captured on this old time music classic-these musicians learned this music firsthand.'

'He was known by all as the Minstrel of the Appalachians, this granddaddy to folk festivals pretnear everywhere. Asheville was booming in 1928 when Bascom Lamar Lunsford gathered up a passel of pickers, fiddlers and dancers on Pack Square for the city’s first Mountain Dance and Folk Festival now in its 92nd year.

Lunsford may have been having a little fun with highfalutin’ Ashevillians. The ‘20s were roaring. As Thomas Wolfe recalled in “Boom Town”: “It was fantastic! Everyone was a real estate man… barbers, lawyers, clothiers…. And there seemed to be only one rule…buy, always to buy…and to sell again within any two days at any price….”

Down the hill, Asheville’s county office building and art deco city hall were opening. And four years earlier on the tiny lot where Wolfe’s father carved tombstones, Lynwood Jackson erected WNC’s first skyscraper. Its 15 stories were topped by an 18 million candle power searchlight to attract tourists.

Living out on South Turkey Creek in Leicester, Lunsford often sounded pretty folksy. Yet there was nothing at all simple about this self-made lawyer and one-time legislative clerk with a superb ear for mountain music and dialect. He launched the festival to remind everyone of the roots of the region from which he sprang.

He was born in 1882 in Mars Hill where his father, it was claimed, had a “divine thirst for knowledge,” and taught school. His mother and her family were well-known musicians. The family soon moved to Leicester. Lunsford graduated from Camp Hill Academy and attended Rutherford College and then Trinity College, the forebear of Duke University.

After a year teaching in public school, he became a professor of English and history, practiced law, edited two newspapers and served for a while as an agent for the Justice Department. As a fruit tree salesman, he traveled the Southern Appalachians gathering songs, much in the pattern of famed English folk musicologist Cecil Sharp. He never met Sharp, but knew his associate Maud Karpeles.

Lunsford’s law practice brought him no judicial renown. But in notes on the back of his signature album Music from South Turkey Creek, Loyal Jones, namesake of Berea College’s Appalachian Center, reports that Lunsford’s experiences before the bench provided the redolent mash from which he distilled his most famous song, Old Mountain Dew.

Lunsford may have been proud to a fault. “When he stands, he stands all reared back,” wrote Harold Martin in a profile in The Saturday Evening Post, “like a man of substance, with his thumbs thrust in his vest and his watermelon paunch protruding beneath his sober blue serge suit.”

Charles Seeger, legendary folk singer Pete Seeger’s father, employed Lunsford to promote mountain music around the country. That led to President Roosevelt’s invitation to come to the White House to perform for King George VI in 1939. When Lunsford played, he usually favored his “mandoline,” the body of a mandolin with the long neck of a five-string banjo attached.

Young Pete may have been introduced to a banjo with a phenomenally long neck on the front porch of Lunsford’s home on South Turkey Creek Road in Leicester. When the living room rug was rolled back, that little white house Lunsford and his wife Nellie built from salvaged lumber often quaked with square dancing.

Across the road up on the hill, Lunsford erected a platform. Often, when the weather was fair, music and singing floated down South Turkey Creek valley on the cool evening air. When you drive by the house, listen carefully and you just might catch a bit of it.' -John Ross

1. Bascom Lamar Lunsford - Free A Little Bird 2:46
2. Bascom Lamar Lunsford - Old Mountain Dew 3:10
3. Bascom Lamar Lunsford - Lily Of The West 2:49
4. Bascom Lamar Lunsford - Lord Joshuay 1:44
5. Bascom Lamar Lunsford - Drinking Of The Wine 2:16
6. Bascom Lamar Lunsford - Essie Dear 2:09
7. Bascom Lamar Lunsford - On A Bright And Summer's Morning 2:15
8. Bascom Lamar Lunsford - Goodbye Dear Old Stepstone 2:25
9. Bascom Lamar Lunsford - Poor Ellen Smith 3:57
10. Bascom Lamar Lunsford - Georgia Buck 2:08
11. Red Parham - Lost John 1:16
12. George Pegram - Pig In A Pen 1:42
13. George Pegram And Red Parham - Red And George Breakdown 1:35
14. George Pegram - Charlie Lawson 1:35
15. George Pegram And Red Parham - A Leaf From The Sea 1:27
16. George Pegram - Old Joe Clark 1:32
17. Red Parham - T Model Ford And Train 0:58
18. George Pegram And Red Parham - Mama Blues 1:20
19. George Pegram And Red Parham - Roll On, Buddy 1:58
20. George Pegram And Red Parham - Keep My Skillet Good And Greasy 1:34
21. George Pegram And Red Parham - Cindy 2:01
22. George Pegram And Red Parham - Poor Ellen Smith 1:34
23. George Pegram And Red Parham - Old Rattler 1:34

Label: Rounder Records 
Released: 1976
Style: Appalachian Music, Bluegrass


“O LP” is a masterpiece and one of the fundamental records of samba-jazz.

'Pense numa constelação com as estrelas mais brilhantes e direcione pra música, mais precisamente pro Brasil na década de 60. Os Cobras é tipo isso, e o nome já deixa claro. Só sinistro no comando!

O grupo foi formado por um time de músicos e arranjadores monstruosos da conhecida turma do Beco das Garrafas e tinha em sua formação J.T. Meirelles no saxofone e flauta, Tenório Jr. ao piano, José Carlos no contra baixo, Milton Banana na bateria, Raul de Souza no trombone e Hamilton no trompete; ainda conta com as participações especiais de Roberto Menescal no violão e Paulo Moura no sax alto.

O repertório do disco é uma fina seleta de clássicos da música instrumental brasileira com obras de Moacyr Santos, Lula Freire, Orlandivo, Roberto Menescal, entre outros.

Pode até parecer pretensioso, mas o nome da banda corresponde ao porte dos músicos e “O LP” é uma obra prima e um dos discos fundamentais do samba-jazz. Ouça e tire a sua conclusão!'

'This is a perfect name for a wonderful Samba Jazz instrumental combo, meet Os Cobras – O LP (1964), for RCA. Os Cobras – The Snakes – are the ones that exceed the expectations and are the best on their duties. This is the first and only release by Os Cobras.

Anyway, this is the kind of post that you make better if you introduce the musicians and this is the most awesome personnel listing I have seen so far at Loronix. Check this out.' -zecalouro

Tenorio Jr. (piano)
José Carlos “Zezinho” (bass)
Milton Banana (drums)
Raul de Souza (trombone)
Hamilton (trumpet)
Meirelles (sax alto, flute)
Paulo Moura (sax alto)

Special Guests:
Jorginho (flute)
Aurino (sax baritono)
Cipó (sax tenor)
Roberto Menescal (guitar on 10 & 12)
Ugo (vibraphone on 10 & 12)

'It’s kind of a super group, Brazilian jazz all-stars affair, the result of the label RCA-Victor approaching composer and arranger Roberto Jorge to make a record with the regular heavyweights in Rio’s jazz scene congregating around the jam sessions at places like Little Club and Bottle’s. The result was a bold declaration of the samba-jazz sound at its best. On the rhythm section there’s the ubiqutuous Milton Banana – Brazil’s own Art Blakey – on the drum kit, and Tenório Jr. on piano, who was also ubiquitous until he was “disappeared” and murdered in Argentina while on tour with Vinicius & Toquinho in the mid 70s. Zezinho is on bass, about whom I can’t tell you much of anything besides that he frequently played with Erlon Chaves. In the way of horns, there is the brilliant Paulo Moura, whose passing a couple years ago was a huge loss for the world of music. The guy has probably a million album credits of everything from choro to prog rock, but here we get to hear him in the same group with Meirelles, a sax man every bit his equal. A lot of the arrangements are by Cipó, who worked with João Gilberto’s first band Garotos da Lua and also contributes one composition and a bit of tenor sax to this record.  There are also a few arrangements by Carlos Monteiro de Souza.

This album really highlights the symbiotic relationship between jazz in the United States and  samba-jazz, jazz-bossa or just jazz in Brazil. Flows of mutual inspiration were resulting in an amazing amount of innovation and great music on both sides of the equator. But like in many other contexts, the relationship was also lopsided and unequal. The infatuation of American jazz for bossa nova, Brazil’s biggest musical export, unfortunately overlooked the immense variety of possibilities presented by other styles of music, such as samba. If US jazz absorbed anything of samba, it was by way of bossa nova’s own mutations of it. With apologies for making a simplified, unilineal argument, I’ll do it anyway and say that samba was to bossa nova what the blues was to jazz: the latter would not have existed without the former. But the blindness to each other’s roots was reciprocal – the blues was not really in the repertoire of musical idioms available to Brazilians either, at least not in the early 60s. Both jazz and bossa were transnational, globalized music long before anyone used that kind of language to describe them, but when you push back into their roots you find yourself at the limits of the culturally specific. In spite of a multitude of sociological and economic similarities, a Mississippi sharecropper and a morro resident in Rio were speaking mutually unintelligible languages.

This is another record where singling out individual tracks seems almost superfluous, but their arrangements of a few classic tunes deserve pointing out. “Naña”, one of Moacir Santos’ most gorgeous and most recorded compositions, is immediately compelling with Tenório’s sparse deconstruction of the chord sequence opening the tune before the lush harmonies of sax, trumpet and flute come in on the main melody. Remind me some time to post Santos’ “Coisas” album here, as it’s essential listening that makes a lot of the “top 100” lists that people are always making. Incidentally, Moacir Santos played in a completely unrelated combo calling themselves Os Cobras, who made a one-off album in 1960 and then disappeared.

Another ear-catching track is a version of Clifford Brown’s signature tune, “The Blues Walk”, proving that these guys hold their own on straight bop. The album is infused with bop throughout, especially noticeable in Meirelles’s own composition “Quintessence” and “Praia” from Orlann Divo & Roberto Jorge, which still sound fresh. They may start out a bit reverent playing Brown’s tune, but the sense of playfulness and fun soon overtakes everything else. This is followed by the Cipó composition “40 graus” which except for its choruses bears more than a passing resemblance to the rocking samba-jazz-bossa that J.T. Meirelles was making with Jorge Ben at the time. It’s also the longest track here, clocking in at a whopping four and a half minutes. The record closes with a short pretty composition by Luiz Fernando Freire and Roberto Menescal (“Moça da praia”, apparently a favorite theme of the bossa crowd), who also features on acoustic guitar.' -flabbergasted-vibes

1. Quintessência 3:44
2. Nanã 3:36
3. Depois De Amar 2:56
4. Adriana 3:00
5. Praia 2:35
6. Uganda 2:47
7. The Blues Walk 3:23
8. 40 Graus 4:21
9. Chão 3:12
10. Menina Demais 2:26
11. Mar, Amar 1:44
12. Môça Da Praia 1:54