Montag, 29. Februar 2016

Pink Anderson - Ballad And Folksinger, Vol. 3

This release contains what is sadly the final volume in Bluesville's trilogy of long-players featuring the highly original Piedmont blues of Pink Anderson. As with the two previous discs, "Ballad & Folk Singer" was recorded in 1961. It is also notable that Anderson returns to his native South Carolina to document this set. The second installment - "Medicine Show Man" - had been compiled from a New York City session held earlier the same year.

Astute listeners will note that three of the titles - "The Titanic," "John Henry," and "The Wreck of the Old 97" - were duplicated from Anderson's side-long contribution to "Gospel, Blues & Street Songs". The other side featured another Piedmont native, Rev. Gary Davis.

However Anderson's delivery is notably different when comparing the two performances. One of the primary discrepancies lies in the pacing. Here, the readings are more definite and seemingly less rushed. The same is true for the phrasing of Anderson's vocals, most notably on "John Henry." The intricate and somewhat advanced guitar-playing - that became one of Anderson's trademarks - is arguably more pronounced on these recordings as well. Again, "John Henry" displays the picking and strumming techniques that give his decidedly un-amplified vintage Martin acoustic guitar such a full resonance that it practically sounds electric. The instrumental introduction to "Betty and Dupree" exemplifies the walking blues or stride motif particularly evident and notable among Piedmont blues artists. Enthusiasts should also note that in addition to these latter recordings, Anderson also performed on four tracks with his mentor Simmie Dooley in the late '20s for Columbia Records. Those pieces can be found on the compilation "Georgia String Bands (1928-1930)". Anderson actively toured until a debilitating stroke forced him to retire in 1964.

A1The Titanic
A3John Henry
A4Betty And Dupree
B1Sugar Babe
B2The Wreck Of The Old 97
B3I Will Fly Away
B4The Kaiser
B5In The Evening

Pink Anderson - Ballad And Folksinger, Vol. 3
(224 kbps, cover art included)

VA - Bachata Roja - Acoustic Bachata From The Cabaret Era

"Bachata Roja" collects together the greatest hits of classic Dominican bachata. From the early 1960’s to the late 1980’s the legendary voices of Eladio Romero Santos, Leonardo Paniagua and Blas Duran spoke to the hearts of a generation. The dizzying guitar accompaniment of pioneers like Edilio Paredes and Augusto Santos charted the course of bachata’s rise, and for three decades theirs was the sound of the streets of Santo Domingo.

Initially the term "bachata" referred to an informal backyard party with food, drink, music and dance. In rural areas of the Dominican Republic in the 1950’s and earlier, the music played at these events was more often than not guitar-based and included a variety of popular styles such as Cuban bolero, guaracha and son, Puerto Rican jíbaro music and Mexican ranchera. Drawing on all these influences, a bold new guitar style emerged in the heart of Santo Domingo’s burgeoning urban shanty towns. Much despised by elite society - who controlled the island’s television, radio and major recording studios – the new music was dubbed disparagingly “bachata,” an allusion to perceived rural backwardness.

Though boycotted by major media outlets, a grass-roots movement coalesced around favorite singers of the time – who expressed in unvarnished terms the pain, sorrow, humor and romance of daily life. Arising from the urban bordellos and the campos, bachata music grew to become wildly popular across all strata of society. Throughout this period, the defining sound of bachata was that of the Spanish acoustic guitar, whose florid phrasing seduced dancers, chastised faithless lovers and softly serenaded coy mistresses of the night.

It happens time and time again: if a style of Latin music starts out rugged, raw, and rural, there is a very good chance that it will eventually be seriously commercialized and become a lot more polished. That has happened with everything from Colombian cumbia to Cuban son (a primary ingredient in what is now called salsa) to Brazilian samba, and Dominican bachata is no exception. The bachata boom of the '90s and 2000s found bachata becoming increasingly commercialized and enjoying as much exposure as salsa, merengue, and cumbia in the tropical market, which is truly ironic when one considers that back in the '60s and '70s, bachata was often dismissed as low-class by the more affluent people in the Dominican Republic. Many bachata converts of the '90s and 2000s have had little, if any, exposure to old-school bachata, and this excellent compilation takes a look at what bachata sounded like before that commercialization occurred.

"Bachata Roja: Acoustic Bachata from the Cabaret Era" opens with Rafael Encarnación's doo wop-flavored "Muero Contigo" from 1962 and closes with Juan Bautista's 1990 hit "Asesina," which uses an electric guitar (old-school bachata was totally acoustic) and has one foot in classic bachata and the other in modern bachata. Many of the tracks are from the '60s and '70s, and those who associate bachata with the commercial hits of Aventura or Monchy & Alexandra will be surprised to hear how much rawer bachata sounded in the hands of old-school bachateros like Felix Quintana, Augusto Santos, Julio Angel, and the late Marino Pérez (who sadly, drank himself to death). "Bachata Roja" is enthusiastically recommended to anyone who wants to hear what bachata sound like before it became so commercialized.        


1) Rafael Encarnacion - MUERO CONTIGO
2) Marino Perez - O LA PAGO YO O LA PAGA ELLA
3) Eladio Romero Santos - LA MUNECA
4) Blas Duran - EQUIVOCADA
5) Felix Quintana - LADRONA
6) Juan Bautista - ESTOY AQUI PERO NO SOY YO
7) Augusto Santos - OLVIDA ESE HOMBRE
8) Augusto Santos - SI ME LA DAN LA COJO
9) Julio Angel - EL SALON
10) Julio Morales - YO PAGARE LA CERVEZA
11) Ramon Cordero - AMOR DEL BUENO
12) Efrain Morel - ESTA NOCHE ME LA LLEVO
13) Leonardo Paniagua - MI SECRETO
14) Juan Bautista - ASESINA

VA - Bachata Roja - Acoustic Bachata From The Cabaret Era
(256 kbps, front cover included)      

Reinhard Mey - Starportrait (1977)

The German liedermacher Reinhard Mey rose to prominence in France and Germany as one of the most well-known and beloved singer/songwriters of his generation. He was born in Berlin on December 21, 1942, and learned how to play the piano and guitar at an early age. His first foray onto the stage came when he joined a skiffle group, Les Trois Affamés. His group was invited to play a liedermacher festival at Burg Waldeck in 1965, and the gig eventually led to Les Trois Affamés' first record deal. Mey released his first solo album in 1967, and he dropped out of university in order to pursue music. It was a career that would span well over four decades; Mey released over 20 albums in the 40 years following his debut, gaining audiences throughout Germany, France, and Holland.

Mey writes both sensitive and humorous songs, with subject matter taken mostly from his everyday life and surroundings. His themes include life on the road, his hobbies (e.g., flying), childhood memories, his family life and surroundings, and occasionally politics. Many of his songs are humorous and demonstrate Mey's extraordinary linguistic versatility. Mey's songs are characterized most by their expressiveness of language and their penetrating melodies.
Mey's politics tend to be moderate to left-leaning. He speaks out in particular for freedom and non-violence, and not only in his songs (for example, he participated in a demonstration at the beginning of 2003 against the coming war in Iraq). Strongly influenced by the French chanson, Mey's political songs were relatively scarce among his works at the beginning, but they have increased in quantity over time, such that there is usually at least one song on each new album that concerns itself with politics. His 2004 album, Nanga Parbat, for example, includes "Alles OK in Guantanamo Bay", a song critical of the U.S. detention facility on the island of Cuba.

The compilation "Starportrait" was released in 1977 as a double album, featuring recordings from 1968 to 1975.

 Tracklist, LP 1:
1.Ich wollte wie Orpheus singen2:19
2.Die drei Musketiere2:15
3.Rouge ou noir2:55
4.Das Lied von der Spieluhr3:35
5.Trilogie auf Frau Pohl5:19
6.Ich denk' es war ein gutes Jahr3:46
7.Irgendwann, irgendwo2:19
8.Aus meinem Tagebuch3:00
9.Du, meine Freundin2:52
10.Ich bin aus jenem Holze geschnitzt3:10
11.Der Mörder ist immer der Gärtner4:49
12.Komm, gieß' mein Glas noch einmal ein4:10

Tracklist, LP 2:
1.Annabelle, ach Annabelle4:03
2.Schade, daß Du gehen mußt4:22
3.Die heiße Schlacht am kalten Büffet3:16
4.Mann aus Alemannia5:30
5.Herbstgewitter über Dächern3:13
6.Gute Nacht, Freunde2:51
7.Über den Wolken3:45
8.Wie vor Jahr und Tag4:36
9.Ich bin Klempner von Beruf3:25
10.Es gibt keine Maikäfer mehr4:12
11.Wie ein Baum, den man fällt3:43
12.Es schneit in meinen Gedanken3:33

Reinhard Mey - Starportrait (1977)
(256 kbps, cover art included)

Sonntag, 28. Februar 2016

VA - Folk Roots: The Sound of Americana

An interesting and varied set of folk recordings originally done for Diane Hamilton and Patrick Clancy's "Tradition Records" between 1955 and 1961, "Folk Roots: The Sound of Americana" may not exactly live up to its title but it does feature some striking recordings, most notably Odetta's powerful version of "Chilly Winds," Etta Baker's spry guitar instrumental take on "Goin' Down the Road Feeling Bad," Barbara Dane's stirring "Who's Gonna Shoe Your Pretty Little Foot," and Mrs. Edd Presnell's chiming dulcimer run-through of "Amazing Grace."
Also worth noting is John Jacob Niles' affected vocal (he sounds like Tiny Tim gone dramatically folky) on "The Death of Queen Jane," a recording that is almost perversely fascinating. Lord knows no Appalachian ballad singer ever sounded like that no matter how much moonshine he might have put away.

Folk Roots - The Sound Of Americana
(192 kbps, front cover included)

Samstag, 27. Februar 2016

Pink Anderson - Carolina Blues Man (1961)

A good-natured finger-picking guitarist, Anderson played for about 30 years as part of a medicine show. He did make a couple of sides for Columbia in the late '20s with Simmie Dooley, but otherwise didn't record until a 1950 session, the results of which were issued on a Riverside LP that also included tracks by Gary Davis. Anderson went on to make some albums on his own after the blues revival commenced in the early '60s, establishing him as a minor but worthy exponent of the Pidemont school, versed in blues, ragtime, and folk songs. Anderson also became an unusual footnote in rock history when Syd Barrett, a young man in Cambridge, England, combined Pink's first name with the first name of another obscure bluesman (Floyd Council) to name his rock group, Pink Floyd, in the mid-'60s.

A vast majority of the known professional recordings of Piedmont blues legend Pink Anderson were documented during 1961, the notable exception being the platter he split with Rev. Gary Davis - "Gospel, Blues and Street Songs" - which was documented in the spring of 1950. This is the first of three volumes that were cut for the Prestige Records subsidiary Bluesville. "Carolina Blues Man" finds Anderson performing solo - with his own acoustic guitar accompaniment - during a session cut on his home turf of Spartanburg, SC. Much -- if not all - of the material Anderson plays has been filtered through and tempered by the unspoken blues edict of taking a familiar (read: traditional) standard and individualizing it enough to make it uniquely one's own creation. Anderson's approach is wholly inventive, as is the attention to detail in his vocal inflections, lyrical alterations, and, perhaps more importantly, Anderson's highly sophisticated implementation of tricky fretwork. His trademark style incorporates a combination of picking and strumming chords interchangeably. This nets Anderson an advanced, seemingly electronically enhanced sound. "Baby I'm Going Away" - with its walkin' blues rhythms - contains several notable examples of this technique, as does the introduction to "Every Day of the Week." The track also includes some of the most novel chord changes and progressions to be incorporated into the generally simple style of the street singer/minstrel tradition from which Pink Anderson participated in during the first half of the 20th Century.

Listeners can practically hear Anderson crack a smile as he weaves an arid humor with overtly sexual connotations into his storytelling - especially evident on "Try Some of That" and "Mama Where Did You Stay Last Night." Aficionados and most all students of the blues will inevitably consider this release an invaluable primer into the oft-overlooked southern East Coast Piedmont blues.

(320 kbps, cover art included)

Donnerstag, 25. Februar 2016

John Cale - Mercenaries (Ready For War) / Rosegarden Funeral Of Sores (Single, 1980)

Originally posted in March 2014:
On all channels threatening news about Russia´s military intervention in Crimea... Hope there is a chance to de-escalete the situation. Maybe John Cale´s "Mercenaries (Ready For War)" is the fitting single for this dangerous situation. 

Back in January 1980, with a nightmare awakening in Afghanistan, Thatcher getting comfortable at Downing Street, Reagan waiting to be inaugurated, and decades of mercenary-assisted bloodshed in Africa, John Cale released a topical single that he'd been playing live for a year or so. A rocking little ditty with prescient and sinister artwork, "Mercenaries (Ready for War)" was a studio recording of the lead-off track of the previous month's live LP of new material, Sabotage/Live.
The sleeve lists "Mercenaries" as being the same live version from the Sabotage album but it is actually a studio version exclusive to this single. It has not been re released since the master tapes have been lost!       

"Mercenaries are usless, disunited, unfaithful
They have nothing more to keep them in a battle
Other than a meager wage
Which is just about enough to make them wanna kill for you
But never enough to make them wanna die for ya

I’m just another soldier boy
I’m just another soldier boy
Looking for work
Looking for work
Looking for work

My rifle is my friend
My rifle is my friend
I clean my rifle everyday
I clean my rifle everyday

That’s why my rifle is my friend

Ready for war, ready for war
Ready for war, ready for war
Ready for war, ready for war
Ready for war, ready for war

Did some work in Zaire, the jolly old Belgian Congo
Went back to Geneva to get paid
Back there in Geneva, that’s were the money grows
That’s were the money grows, that’s were the money flows

They didn’t wanna pay me
They didn’t wanna pay me, but they did
Try to separate me from my money
is try to separate me from my life

Ready for war, ready for war
Ready for war, ready for war
Ready for war, ready for war
Ready for war, ready for war

Let’s go to Moscow, let’s go to Moscow
Let’s go, let’s go, let’s go to Moscow
Fight a backdoor to the Kremlin
Push it down and walk on in

5000 feet and closing
Target visibility one nine
4000 feet and closing
Target visibility two six
3000 feet and closing
Target visibility seven nine
2000 feet and closing
Visibility one ten
1000 feet and closing
Visibility seven four
500 feet and closing
Target visibility zero!

Ready for war, ready for war
You better be ready for war
Ready for war, ready for war
Are you ready for war
Ready for war, ready for war"

John Cale - Mercenaries / Rosegarden Funeral Of Sores (Single)
(320 kbps, cover art included)

Dienstag, 23. Februar 2016

The Vietnam Veterans - The Days Of Pearly Spencer (1988)

Thanks to a friend bringing back "The Vietnam Veterans" to my attention (by the way, greetings to all pudels out there!), here´s another band that was really on heavy rotation on my record player through the 80s and 90s.

"The Vietnam Veterans" were a six-person french band, playing a very unique and fantastic psychedelic music style.

"Souls must have been sold for a performance like this", the "Bucketfull Of Brains" magazine once wrote about the Veterans great live album called "Green Peas".

The Vietnam Veterans - The Days Of Pearly Spencer
192 kbps

Gil Scott-Heron - Free Will (1972)

Gil Scott-Heron's third album is split down the middle, the first side being a purely musical experience with a full band (including flutist Hubert Laws and drummer Pretty Purdie), the second functioning more as a live rap session with collaborator Brian Jackson on flute and a few friends on percussion.

For side one, although he's overly tentative on the ballad "The Middle of Your Day," Scott-Heron excels on the title track and the third song, "The Get Out of the Ghetto Blues," one of his best, best-known performances. The second side is more of an impromptu performance, with Scott-Heron often explaining his tracks by way of introduction ("No Knock" referred to a new police policy whereby knocking was no longer required before entering a house, "And Then He Wrote Meditations" being Scott-Heron's tribute to John Coltrane).

His first exploration of pure music-making, "Free Will" functions as one of Scott-Heron's most visceral performance, displaying a maturing artist who still draws on the raw feeling of his youth.

Gil Scott-Heron - Free Will (1972)
(192 kbps, front cover inlcuded)

Montag, 22. Februar 2016

The Critics Group - Sweet Thames Flow Softly (1966)

The Critics Group, also known as The London Critics Group, was a group of people who met to explore how best to apply the techniques of folk-music and drama to the folk revival under the direction of Ewan MacColl and Peggy Seeger, with some participation from Bert Lloyd and Charles Parker. Running for eight years from the mid 1960s to the early 1970s this was not a conventional musical group as it had no permanent line-up.
MacColl practised stark learning techniques and versed his students in Folk songs, theater and performance science, ethnography and the Marxist canon.

It started out as a study group for singers, meeting once a week at MacColl and Seeger's home in Beckenham, attempting to raise the standards of singing. One of the main activities of the meetings was group criticism and discussion of each other's performances which subsequently earned the group its name, coined by Charles Parker when pressed for a name by a radio interviewer.

Many of the meetings were recorded, and some of these recordings are held as part of the The Charles Parker Archive which is held in the Birmingham City Archive and Heritage Service.

The group organised regular Club nights at the Union Tavern in the Farringdon Road which attracted musicians from all over the world. The best part of these evenings was often the 'lock ins' which developed into impromptu musical sessions until the early hours of the morning. Under the guidance of McColl, a noted draatist, Seeger and Parker, they went on to produce an annual show called the Festival of Fools which always attracted critical notice in the national press. Staged each Christmas for five years, they satirised events of the previous year through sketches and songs, loosely based around folk customs and songs. They were performed in the back room of a North London pub, the New Merlin's Cave.

Members of the group included Frankie Armstrong, Bob Blair, Brian Byrne (UK), Helen Campbell (UK), Jim Carroll (UK), Ted Culver, John Faulkner (UK), Richard Humm, Allen Ives, Sandra Kerr, Paul Lenihan, Pat Mackenzie, Jim O'Connor, Maggie O'Murphy, Tom Paley, Brian Pearson, Michael Rosen, Buff Rosenthal, Susanna Steele, Denis Turner, Jack Warshaw, Terry Yarnell.

In 1972 the principal performing members of the Critics Group broke away from MacColl's leadership and formed the left-wing theatre group Combine, which produced weekly events in an east London pub, the Knave of Clubs. They created songs, plays and other events in a similar manner to the Critics, culminating in the Vietnam Victory Show of April 1975 which celebrated the final liberation of Saigon.

The folk music revival, which swept the US and Britain in the early 1960s, resulted in the new generation of musicians rediscovering the riches of musical tradition created over centuries passed. As opposed to Classical music, folklore was created outside of the musical "establishment" over the centuries, mostly by troubadours and non-professional authors, which of course doesn't make that this music is in any way inferior to the Classical heritage, it is simply different. Before Folk turned into Folk-Rock by the mid-1960s, hordes of musicians sang traditional material and created new songs in the spirit of the Folk tradition. This album documents the work of the British ensemble The Critics Group, which was quite well known at the time. This album, which collects folk songs from the streets of London, from Elizabethan times to present, is a beautiful example of how the folk tradition can be preserved and cherished. The group members are all excellent singers with splendid voices. The songs are mostly performed a cappella, as they were sung originally, but some have instrumental accompaniment. Overall this is a charming album, aimed at listeners who like traditional folklore.

Side One
1 Street Cries (trad)
2 Tottie (Dagonet aka G.R. Sims) – Terry Yarnell
3 Judges and Juries (trad) – Ted Culver (unaccompanied)
4 Parson Grocer (trad) – John Faulkner, Sandra Kerr, plus chorus, banjo
5 Betsy Baker (MacColl/Gardner) – John Faulkner (unaccompanied)
6 Plank Bed Ballad (Dagonet aka G.R. Sims) – Terry Yarnell, plus whistle, concertina
7 The Jail Song (trad) – Ted Culver, plus chorus, guitar
8 William and Phyllis (trad) – Sandra Kerr (unaccompanied)
9 Randolph Turpin, Sugar Ray Fight (MacColl/’The Professor’) – Terry Yarnell, plus chorus, guitars, spoons, yazoo, etc.

Side Two
1 Supermarket Song (Marigold/Turner/O’Connor/MacColl) – John Faulkner, Sandra Kerr, plus chorus, banjo
2 Ratcliffe Highway (trad) – Jim O’Connor (unaccompanied)
3 Outward Bound (trad) – John Faulkner, plus chorus, concertina
4 My Jolly Sailor Bold (trad) – Sandra Kerr, voice and autoharp
5 The Streets of London (Irish Trad/Hasted) – Jim O’Connor, plus chorus, concertina, guitar
6 The Colour-Bar Strike (MacColl/Mayo) – John Faulkner, plus two guitars
7 The Landlord’s Nine Questions (Seeger) – Sandra Kerr, plus chorus
8 Sweet Thames Flow Softly (MacColl) – John Faulkner, plus chorus, zither, guitar

The Critic´s Group - Sweet Thames Flow Softly (1966)
(256 kbps, front cover included)

Sonntag, 21. Februar 2016

Milton Nascimento - Milton Nascimento (1969)

International singing superstar and songwriter Milton Nascimento may have his roots in Brazil, but his songs have touched audiences all over the world. Born in Rio, Nascimento's adoptive parents, both white, brought him to Tres Pontas, a small town in the state of Minas Gerais, when he was two. His mother sang in a choir and at local music festivals, often accompanied by Milton. Nascimento's father was an electronics tinkerer, math teacher, and at one point ran a local radio station where a young Milton occasionally worked as a DJ. He began singing as a teenager. When he was 19, Nascimento moved to the capital Belo Horizonte and began singing wherever and whenever he could. Finally he caught a break when the pop singer Elis Regina recorded one of his songs, "Canção do Sal," in 1966. Regina got him a showcase on a popular Brazilian TV program, and after performing at Brazil's International Song Festival the following year, his career was launched.
  In 1972 he collaborated with fellow lyricists Márcio Borges, Fernando Brant, Ronaldo Bastos, and other friends to record "Clube da Esquina", a double album that spurred three hit singles, including "Cais (Dock)" and "Cravo é Canela (Clove and Cinnamon)." The singles are still being recorded and have become standards in Brazil over the years. Since he began recording with his self-titled debut in 1967 for the Codil label, Nascimento has written and recorded 28 albums.

Nascimento is famous for his falsetto and tonal range, as well for highly acclaimed songs such as "Maria, Maria", "Canção da América" ("Song from America"/"Unencounter"), "Travessia" ("Bridges"), "Bailes da Vida", and "Coração de Estudante" ("Student's Heart"). The lyrics remember the funeral of the student Edson Luís, killed by police officers in 1968. The song became the hymn for the "Diretas Já" social-political campaign in 1984, was played at the funeral of the late President of Brazil Tancredo Neves the next year, and was also played at Ayrton Senna's funeral.

2Rosa Do Ventre (M)
3Pescaria / O Mar É Meu Chão
5Beco Do Mota
6Pai Grande
7Quatro Luas
8Sunset Marquis 333 Los Angeles
10Travessia (bonus track)

Milton Nascimento - Milton Nascimento (1969)
(320 kbps, cover art included)

The Victoria Kings - The Mighty Kings of Benga

Benga is the king of Kenyan dance music and the Victoria Kings (along with Shirati Jazz) are the foremost exponents of the style.

Boisterous, bouncy bass-led guitar dance music (with the fast-jumping bass line contrasted against high-pitched guitar lines and upper-register falsetto voices), the benga beat is one of East Africa's most contagious. It's sparkling, zingy influence can be felt in the musical styles of many of Kenya's neighbouring countries. The Victoria Kings hail from Suna in the hills of South Nyanza towards the border with Tanzania. "The Mighty Kings Of Benga" features songs from the golden age of benga in the late '70s and early '80s. All were originally released as singles (by the band's own Oula Record Company) and all became African top sellers. This album brings the sound of benga from the shores of Lake Victoria to a living room near you.

Victoria Kings - Mighty Kings Of Benga
(192 kbps, front cover included)

Freitag, 19. Februar 2016

Max Romeo - Let The Power Fall (1971)

The singer who put the rude in rude boy, Max Romeo was responsible for launching an entirely new sub-genre of reggae, whose overtly suggestive lyrics caused an outcry but took a massive hold of the music scene regardless. Yet innuendo was the least of the singer's stylings, previous to the release of his infamous "Wet Dream," Romeo had garnered a string of sweet hits with the vocal trio the Emotions. And once the nocturnal naughtiness faded, the singer established himself as one of the most important figures in the roots scene.

Romeo was born Max Smith on November 22, 1947, in St D'Acre, Jamaica. His prospects initially seemed dim; at 14 he left home and found a menial job cleaning out irrigation ditches on a sugar plantation. And there he might have stayed, if he hadn't won a local talent contest. With all the wide-eyed optimism of youth, the 18-year-old now made his way to Kingston, determined to become a star. Once in the capital, he hooked up with two other hopefuls, Kenneth Knight and Lloyd Shakespeare, and the Emotions were born. Their 1966 debut, "(Buy You) A Rainbow," produced by Ken Lack, was an immediate hit and over the next two years, the trio amassed an impressive list of successful singles.

In 1968, the singer, now dubbed Max Romeo, was confident enough to launch a solo career. Working with producer Bunny Lee, the young star recorded a number of love ballads and sweet singles, but none made much of an impression on the charts. The singer admitted defeat and returned to the Emotions. Simultaneously, he formed the Hippy Boys, with whom he did some recording (the band eventually evolved into the Upsetters), while also working as a sales rep for Lee Perry. Later that year, Romeo penned new lyrics to the rhythm track of Derrick Morgan's "Hold You Jack" and handed them over to Lee Perry. Morgan was penciled in for the recording but opted to give it a miss, as did a couple of other vocalists, until finally the exasperated producer bullied Romeo into taking the mic.

The result was "Wet Dream," an instant smash in Jamaica, although it was far from the first island single to feature suggestive lyrics. It was, however, a bit more obvious than most, so much so that even the British had no difficulty discerning its real meaning. Across the Atlantic, the single was heating up the charts, although not the airwaves. The British censors, not known for their stupidity, gave short shrift to Romeo's rather lame explanation that the song was actually about a leaky roof and immediately banned it. This had the reverse effect and helped push the single up the chart into the Top Ten.
A bucketload of less-than-furtive follow-up singles now ran rampant across the chart, both from Romeo himself and other equally lasciviously minded artists, with 1970's "A Dream" boasting an entire album's worth of Romeo's own offerings. In the U.K., this mini-movement took on a life of its own, culminating with the phenomenal success of the homegrown talent Judge Dread and his string of naughty nursery rhyme hits. Back in Jamaica, Romeo attempted to launch his own label (Romax) and sound system in 1970, but unfortunately the venture was a failure. The following year, he hooked back up with Bunny Lee and began recording a clutch of singles based on the producer's own rocksteady classic rhythms. One of the most intriguing was "Watch This Sound," which combined a rocksteady backing with the lyrics to the Buffalo Springfield classic "For What It's Worth." Branching out, Romeo also cut numerous singles with a number of other producers, including Winston Riley, Sonia Pottinger, and Alvin Ranglin. Many of these releases were culturally themed, as the singer shifted into a more roots-fired mode. Some of the most striking were recorded with the young Niney Holness, including "Beardman Feast," "The Coming of Jah," and the apocalyptic "Babylon Burning," which was co-written by Lee Perry.
A sense of an impending apocalypse was inherent to Rastafarianism as all of Jamaica was caught in its grip in the run-up to the 1972 election. Democracy has always carried a price tag of political violence on the island, but this year was particularly expensive. The conservative JLP party, which had run the country since independence a decade earlier, now for the first time faced serious opposition from the socialist PNP party. The result was an outbreak of violence across the island, as the opposing party supporters squared off on the streets. Both the urban poor and Rastafarians flocked to the PNP banner, while artists, too, made their preferences plain, although it may not seem that way to the uninitiated. Virtually all Old Testament references alluded to politics, with PNP leader Michael Manley personified by biblical heroes (normally Joshua, the nickname he was given by supporters), while JLP Prime Minister Harry Shearer was consigned to the role of villain.               

Let the Power Fall is the second studio album by Max Romeo, released in 1971. The album, in contrast to Romeo's debut A Dream, included politically charged material. It was engineered by Carlton Lee and Sid Bucknor.


Side A
  1. "Let the Power Fall"
  2. "Bachelor Boy"
  3. "Cracklin' Rosie"
  4. "Chatter Box "
  5. "Missing You"
Side B
  1. "Puppet on a String"
  2. "My Special Prayer"
  3. "Fowl Thief"
  4. "Hola Zion"
  5. "Macabee Version"

Max Romeo - Let The Power Fall (1971)
(192 kbps, cover art included)

Checkpoint Charlie – Grüß Gott mit hellem Klang (1970)

Checkpoint Charlie were a German politico-prog-rock meets theatre outfit mostly active during the 1970's and early 1980's. Colleagues of "Floh De Cologne" and "Ton Steine Scherben", but with a very different approach, Checkpoint Charlie were much more angst and proto-punk in a way. Their debut LP is well-known as one of the most challengingly angry records of Krautrock. After that they refined their style along similar lines to Oktober on their next 3 albums.    

"Grüß Gott mit hellem Klang" was their debut, released in 1970, later reissued in the 1980s and the 1990s with 300 copies each.
The front cover gives the name as "Checkpoint Charlie", while the back cover says "Checkpoint Charly" and the labels have "Checkpointcharlie" (see included album art).

Geschichte von Herrn Müller I
Geschichte von Herrn Müller II
Das arme Waisenkind

Checkpoint Charlie – Grüß Gott mit hellem Klang (1970)
(ca. 192 kbps, cover art included)

Dienstag, 16. Februar 2016

Pete Seeger - Studio Recording At The National Czech Radio (1964)

This is the second part of the Pete Seeger recordings from Czechoslowaki in 1964. Gene Deitch recorded these tracks on March 28, 1964, in an empty studio at Radio Karlin, Prague.

Many thanks to Ruth Ellen Gruber for sharing this information on

"I just spent the weekend in Czech Republic, participating in the launch of the new bluegrass fusion CD by the Malina Brothers band. It can be said that the great Pete Seeger, who died Monday, launched the entire Czech bluegrass scene with his performances in the then communist Czechoslovakia in 1964. For the first time, people saw a five-string banjo being played, after hearing it on American Forces radio broadcasts. The first Czech five-strings were made from photos of Pete's. The concert was arranged in Prague by Pete's longtime friend Gene Deitch, who recorded the concert and issued it as an album, which has now been posted online."


Coal Creek march
Darlin' Cory
Oh had I a golden thread
I can see a new day
What did you learn in school today?
Little boxes
Living in the country
We shall overcome
Little Molly
I want to go to Andorra!
Ida Red ; Old Joe Clark (played on home-made banjo)
Pretty Saro (wooden flute-recorder)
Woody's rag (mandolin)
900 miles (mandolin)
Oleana (with variations)
Careless love

Pete Seeger - Studio Recording At The National Czech Radio
(320 kbps)

Pete Seeger - At The ABC Theatre, Prague, 1964

Here´s the first part of Pete Seeger live recordings from Czechoslovakia. The songs were recorded by Gene Deitch on March 27, 1964, at a theatre performance at the ABC Divadlo, Prague.

The ABC Theatre is located near Wenceslas Square in Prague. Together with Rokoko Theatre and Ábíčko it belongs to the groupe of Municipal Theatres of Prague.

Gene Deitch remembers on

"By 1964, Pete, with Toshi and three kids, hade embarked on a world tour, which included communist Czechoslovakia, where I’d already been working four years. As he’d been sidelined as a political pariah in mainstream America, he expected he’d get a bigtime welcome here, right? Wrong! Here’s the irony: even though Pete may have felt himself to be a “communist,” the “Marxist-Leninist” Czechoslovak government was more suspicious of free-thinking “communists” who were not strict followers of the ever-shifting Soviet line, than they were of “capitalists,” who were their more clearly defined antagonists. “Diversionist” left-wingers were considered the greatest actual danger to their rule.

A local Seeger fan, Zbyněk Macha, who worked for the Czechoslovak Ministry of Culture had managed to get permission from the authorities to allow Pete a series of concerts in the country, but cautiously limited him to low-key venues, and there was no radio or TV coverage of his visit. The officials were afraid he’d be a loose-cannon, with his songs about freedom! So I was the only person with professional stereo equipment, able to privately record him. I sneaked my gear into Pete’s Prague theater concert, and Zbyněk Macha even got me into an unused radio studio with decent acoustics! Years later, my historic recordings were issued on a British FlyRight CD, “Pete Seeger in Prague 1964”, now a collectors’ item."


T-for Texas
Kai-yo-wa-ji-neh (Native American)
Amazing grace
The Devil and the farmer
Banjo breakdown: Ida Red ; Old Joe Clark
Mr. Tom Hughes' town
Irene, goodnight
Bourgeois blues
So long
Talking Columbia
Lord God, Pittsburgh!
Why, Oh why?
Michael row the boat ashore
Cumberland Mountain bear chase (Holka modrou oka)
Tzena tzena
Down by the riverside
Where have all the flowers gone?
Living in the country
Pete Seeger's comments, February 2001
(the songs "Rock Island Line" and "Dark As A Dungeon" are missing, sorry!)

Pete Seeger - At The ABC Theatre, Prague, 1964
(320 kbps, front cover included)

Montag, 15. Februar 2016

John Cale - Even Cowgirls Get The Blues

John Cale was born in Wales but moved to London and then New York to study music. He joined The Velvet Underground in 1965 and played a key part in the distinctive sound and experimental ethos of their first two albums.
In the 70s, Cale launched a solo career and produced albums for other artists, including Nico, The Stooges, The Modern Lovers, Patti Smith. His solo albums covered very different styles, from the orchestral folk of Paris 1919 (1973) to the raucous punk of Sabotage/Live (1979).
Through the 80s, 90s and 00s Cale has continued to experiment with music and release the results, to little commercial success but with a small group of committed fans. In particular, two collaborative efforts in 1990 brought excellent results: one with Brian Eno called Wrong Way Up, and another with former bandmate Lou Reed, called Songs For Drella.

This disc contains live performances from roughly the same time period as the Sabotage/Live album.
It was recorded with members of the Patti Smith Group at CBGB in 1978 and '79 (the years of Cale's noisy punk involvement) and includes some hair-raising feedback excursions. There's some very interesting material here that is not available elsewhere. Most importantly, this is the only recording I know of that features

The LP that came out on "Special Stock" has three tracks not on the CD. Here´s the CD version with the following tracks:

Dance Of The Seven Veils
Helen Of Troy
Casey At The Bat
Even Cowgirls Get The Blues
Don't Know Why She Came
Somebody Should Have Told Her
Magic & Lies

According to the sleeve notes the first 4 tracks were recorded live on December 28, 1978. The other four tracks on December 31, 1979. The venue for both gigs was CBGB's in New York.

Ritchie Fliegler (lead guitarist of the band) begs to differ: "I just received a copy of Cowgirls (I got it on Amazon) it's interesting. And, while definitely recorded at CB's there are some big errors.The first 5 songs are the Judy, Kraal, JD, Bruce and me band. From when, I don't remember. However the liner notes say it's the first four songs - This is absolutely incorrect - it's the first five.The last three songs: Somebody, Decade and Magic are another gang altogether. Listening to this CD was the first time I have ever even heard them. Of this I am totally sure beyond a shadow of a doubt."

Ivan Kral is the bass player from the Patti Smith Group. On the cover his name is misspelled as "Kraal". John Cale´s "Sabotage/Live" album was recorded in between these two gigs.
performances with Judy Nylon.

John Cale - Even Cowgirls Get The Blues
(192 kbps, cover art included)

Thanks a lot to for all the infos about this album!

The Twinkle Brothers - Miss Labba Labba

It seems as though the Twinkle Brothers have been around since the beginning of time, or at least the beginning of reggae.
Led by Norman Grant, the Twinkles began in the early '60s as a trio featuring Grant and his two brothers singing in the slick trio style similar to that of the Melodians and the Mighty Diamonds. In the early '70s, the group hooked up with the influential producer and arranger Bunny Lee, a union that produced a number of reggae hits including "We Can Do It Too" and "Miss Laba Laba." In 1975, the Twinkles released their best and most widely known record, Rasta Pon Top, a rasta-infused, roots-heavy demi-masterpiece that included soul and gospel vocal stylings within the deep grooves.

Although hardcore reggae audiences were the principal fans of the Twinkle Brothers, Grant and company were consistently releasing chart-topping records. As much as this brought great success to the band, it also created a significant amount of friction, as Grant began seeing himself more as a solo act and less as a member of a trio.

The album Miss Labba Labba was released in 1977 on the Roots Music International label.

A1Miss Labba Labba3:21
A2It's Not What You Know4:46
A3Different Strokes3:21
A4Feeling Irie3:14
A5Too Late3:45
B1There Is No Peace3:10
B2Self Praise3:08
B3Jah Army3:28
B4Love, Sweet Love3:14
B5Down Came The Rain4:48
B6Do Your Own Thing3:56

The Twinkle Brothers - Miss Labba Labba
(320 kbps, cover art included)

Sonntag, 14. Februar 2016

VA - Raunchy Business - Hot Nuts & Lollypops

Blues, of course, was expressive of many aspects of African-American life, and a remarkably high proportion of blues on records is about sex. The impression given by these bawdy songs is one of an optimistic sexuality, charged at times with a challenging aggressiveness which hints at their function in black music.

The integrity of these artists and their mark on the development of the blues is indisputable. At the same time, these songs reveal their own personal way of expressing some of the more primal and explicit of human emotions. Above all, this collection is fraught with good humor and, in final analysis, great fun!

This sex-based set of early blues-oriented recordings has 19 double entendre songs and a humorous (and quite profane) "alternate" version of Lucille Bogan's "Shave 'Em Dry" that still could not be played on the radio. Among the performers are Lil Johnson, Lonnie Johnson, Barrel House Annie, Bo Carter and Buddy Moss. With titles such as "Sam The Hot Dog Man," "The Best Jockey In Town," "If It Don't Fit, Don't Force It," "Banana In Your Fruit Basket" and "You Got To Give Me Some Of It", the subject matter is easy to figure out.

From almost the beginning of recorded music, songs have had some kind of sexual content. Compared to today where little is left to the imagination, this artists make clever use of double-entendres to tell their stories.
For example, there's Lil Johnson's "My Stove's in Good Condition" in which she asks someone to "stick your match right in the hole." In Bo Carter's "My Pencil Won't Write No More" he complains that when he tries to write his pencil is "drooping."  For those who want something a little less subtle there's Lucille Bogan's previously unreleased version of "Shave 'Em Dry." Lucille Bogan was as raunchy as any contemporary rapper way back in 1935! If you thought gangsta rap started the use of graphic language in music - think again. There are lines in this track that would make Ice Cube blush (well, almost). In one of the track's tamer verses she says, "I'm going to turn back my mattress and let you oil my springs/I want you to grind me daddy till the bells do ring." If that's too much for you, there's her very different "clean" version. It's so different that you'll swear it was sung by a different person (who knows, it might be!).


Sam-The Hot Dog Man - Lil Johnson
My Stove's in Good Condition - Lil Johnson
Wipe It Off - Lonnie Johnson
Best Jockey in Town - Lonnie Johnson
Shave 'Em Dry, No. 1 - Lucille Bogan
Shave 'Em Dry, No. 2 - Lucille Bogan
He's Just My Size - Little Mae Kirkman
If It Don't Fit (Don't Force It) - Barrel Huse Annie
Furniture Man Blues, Pt. 1 - Lonnie Johnson
Furniture Man Blues, Pt. 2 - Lonnie Johnson
My Pencil Won't Write No More - Bo Carter
Banana in Your Fruit Basket - Bo Carter
Get 'Em from the Peanut Man (Hot Nuts) - Lil Johnson
Get 'Em from the Peanut Man (The New Hot Nuts) - Lil Johnson
Driving That Thing - Mississippi Sheiks
Bed Spring Poker - Mississippi Sheiks
Lollypop - Hunter and Jenkins
Meat Cuttin' Blues - Hunter and Jenkins
You Got to Give Me Some of It - Buddy Moss
Butcher Shop Blues - Buddy Moss

VA - Raunchy Business - Hot Nuts & Lollypops
(192 kbps, front & back cover included)

VA - Savoy Blues 'N' Boogie

Savoy compiled these solid blues and boogie woogie sides, including tracks by Tiny Bradshaw, Gatemouth Moore, and others.

While these tracks are available elsewhere, "Blues N' Boogie" is still a nice budget-priced introduction to some raw, postwar sounds. A fince colletion of hard rockin´ early R´n´B!!!

1. Man Eater - Big Jay McNeely & His Blue Jays
2. Double Faced Deacon - Tommy Brown
3. Did You Ever Love A Woman - Gatemouth Moore
4. I Want To Rock - Little Miss Sharecropper
5. Bookie's Blues - H-Bomb Ferguson
6. The Rainy Day Blues - Sonny Wilson
7. Airplane Blues - Helen Humes
8. You're The Greatest - Dallas Bartley
9. My Good Pott - Doc Pomus
10. Fine Brown Frame - Milton Buggs
11. Take The Hands Off The Clock - Tiny Bradshaw & His Orchestra
12. I Know What It's All About - Dallas Bartley & His Band
13. I'm Still In Love With You - Melvin Moore
14. Married Woman's Boogie - Billy Wright
15. My New Chick - Doc Pomus Listen Listen
16. I Ain't Mad At You Pretty Baby - Gatemouth Moore
17. V-8 Baby - Tommy Brown
18. Helen's Advice - Helen Humes

VA - Savoy Blues´N´Boogie
(192 kbps, small front cover included)

Donnerstag, 11. Februar 2016

Sun Ra - Batman and Robin - The Sensational Guitars of Dan & Dale (1966)

No joke - this album is a little glimpse of heaven. This reviewer has imagined the latter as having (among many things) its own version of Bleecker Street in Greenwich Village, circa 1964-1965, with Fred Neil, Jimi Hendrix, Phil Ochs, Gene Clark, the Serendipity Singers, Art & Paul, Simon & Garfunkel, Bob Dylan, and a hundred other acts playing every night, any night; the music on this album makes me think of something like I'd probably hear if I walked in on a Blues Project rehearsal in that celestial sphere. It is the Blues Project (possibly without Al Kooper, who says he didn't make the session, regardless of what the CD and our ears say), with Sun Ra on the Hammond B-3 organ, John Gilmore and Marshall Allen on tenor and alto, respectively, Pat Patrick on bass, and Jimmy Owens and Tom McIntosh on trumpet and trombone. And apart from the first track and the packaging (which probably cost more, for the licensing of the Batman images, than the session did), none of it has anything to do with Batman or comic books. The story is this -- sometime in 1966, producer Tom Wilson persuaded (probably with the offer of some quick bucks) Sun Ra and members of his band, and the members of the Blues Project, to lay down 35 minutes of music for a Batman and Robin album credited to "The Sensational Guitars of Dan & Dale." It was a quickie exploitation effort sponsored by some toy company in New Jersey (where these sessions were cut) intended to sell some dance music for discotheques and parties by cashing in on the craze surrounding the Batman television program. The album, showing the Caped Crusader and his partner swinging down on bat-ropes, has been a denizen of dollar-record bins and nostalgia shows for decades, and just happens to feature some of the hottest musicians in New York City; beyond Sun Ra and his band, there's Danny Kalb, Andy Kulberg, Steve Katz, and Roy Blumenfeld, who at that time was one of the best bands working in the city. Most of side one is attributed to Sun Ra and his band, though Kalb and Katz seem to be all over the place, assuming they're the only guitarists (and it sounds like them), while side two is attributed principally to the Blues Project -- certainly "The Joker Is Wild" is the Blues Project, and if Al Kooper wasn't at these sessions, then Sun Ra turned down considerably on this cut. "Batman and Robin Over the Roofs" features Jimmy Owens prominently, along with Sun Ra and the two guitarists, in the longest jam on this record (which, as a statement of quality, is also one of the best cuts). No, Batman and Robin doesn't match the importance of the Blues Project's own official recordings, or anything that Sun Ra was doing officially, but what a chance to hear these guys kicking back for a half-hour's anonymous blues jamming. Everything here, apart from the Neal Hefti "Batman Theme" is public domain blues built on some familiar material (including Chopin, Tchaikovsky, and Bach), one cut, appropriately entitled "The Riddler's Retreat," quotes riffs and phrases from a half-dozen Beatles songs, and another, "The Bat Cave," that's this group's answer to "Green Onions" (and a good answer, too). Along with Sun Ra, who dominates every passage he plays on, Steve Katz and Danny Kalb are the stars here, romping and stomping over everything as they weave around each other, while Gilmore, Allen, and Owens occasionally stepping to the fore, Blumenfeld makes his percussion sound downright tuneful in a few spots, and some anonymous female singers throw out a lyric or two on a pair of cuts, just as a distraction. Andy Kulberg and Pat Patrick alternate the bass chores, and at times they're practically playing additional lead instruments. It's all almost too good to be true, catching the Blues Project when they were still playing together happily -- maybe this isn't the jam they would have wanted preserved 35-plus years later, but neither is it embarrassing, and fans of either Sun Ra or the Blues Project might well want this record just for the sheer strangeness of it. Italy's Universe records has reissued Batman and Robin in gorgeous sound, re-creating the original cover art and making it into a gatefold, with some irrelevant '70s-era Batman panels printed inside. Note: Some of these same tracks, or others out of the same session, were repackaged as horror film-focused albums, which are less well known and have yet to show up on CD.     - Bruce Eder,           

A1Batman Theme
A2Batman's Batmorang
A3Batman And Robin Over The Roofs
A4The Penguin Chase
A5Flight Of The Batman
A6Joker Is Wild
B1Robin's Theme
B2Penguin's Umbrella
B3Batman And Robin Swing
B4Batmobile Wheels
B5The Riddler's Retreat
B6The Bat Cave
Sun Ra - Batman and Robin - The Sensational Guitars of Dan & Dale (1966)
(320 kbps, cover art included)

Patti Smith - Exodus

This bootleg features excerpts from Patti Smith's performance at the Pavillion de Paris on 26 March 1978, with some material from TV shows also included.

All but the last 5 tracks were recorded live in Paris in 1978 - the performance is fair to good. The next track is from "The Today Show" in 1978, with Patti sounding worn out, and the last four tracks are from "The Mike Douglas Show" in 1976, with an excellent performance. It contains the same tracks as the superior "Fighters by Day, Lovers by Night", with the space between the songs silenced. The cover has a photograph of some sort of castle or rock formation, black and white on the front and smaller and full colour inside and on the back. The back cover mentions the following: "digital remixed and remastered recording which was originally realised by a member of the audience; produced by Raul Lavi, reprocessed by Cindy Wilde, picture by Robert M.Laue, artwork by R. Lavi. 1994 CDM digital audio".

Patti Smith: vocals
Richard Sohl: piano
Ivan Kral: guitar, bass
Lenny Kaye: lead guitar
Jay Dee Daugherty: drums

  1. Because The Night3:18
  2. Gloria7:00
  3. Set Me Free3:36
  4. Ask The Angels2:56
  5. High On Rebellion3:27
  6. 25Th Floor5:29
  7. Till Victory3:13
  8. Free Money3:43
  9. I Was Working Real Hard2:11
  10. Keith Richards Blues1:34
  11. I Was Working Real Hard (Reprise)2:25
  12. Ask The Angels (Words And Music)3:04

Patti Smith - Exodus
(192 kbps, cover art included)

Country Joe & The Fish - CJ Fish

Country Joe and the Fish went through a personnel change for their fifth album, "CJ Fish", adding Greg Dewey, Doug Metzner, and Mark Kapner in place of David Cohen and "Chicken" Hirsh. They retained, however, their primary composers Barry Melton and Country Joe MacDonald, keeping the sound and style of the original band.

"CJ Fish" is not as strong as their other albums, but it does have a few highlights. The content is typical Country Joe and the Fish: more love, less war, and the tunes are only a little fresher than the ideas. On their previous release "Here We Are Again", they experimented with various styles. On "CJ Fish", they tried to recapture the sound of their previous success, but they "went back to the well" only to find there wasn't much there.

Most of the lyrics are thoughtful and bright; many are in rhyme as many of that time were. The overall timbre is interesting, being both joyful and sobering at the same time. Some bright spots in the material are "Hey Bobby," "She's a Bird," and "Hang On," which are delightfully Country Joe. Overall it's not a bad album and no Country Joe and the Fish collection is complete without it.                

A1Sing Sing Sing3:02
A2She's A Bird4:34
A4Hang On4:08
A5The Baby Song2:50
A6Hey Bobby2:09
B1Silver And Gold2:47
B2Rockin' Round The World4:54
B3The Love Machine5:49
B4The Return Of Sweet Lorraine3:48
B5Hand Of Man2:50

Country Joe & The Fish - CJ Fish
(192 kbps, cover art included)

Mittwoch, 10. Februar 2016

Lititz Mento Band - Dance Music And Working Songs From Jamaica (1993)

Though often erroneously regarded as simply a variation of Calypso, Jamaican Mento is a distinct musical style that developed independently from its similarly styled Trinidadian cousin. The genre remained Jamaica’s most popular form of indigenous music from the post war years up until the development of Shuffle Blues and its immediate successor, Ska, in the early sixties.
As late as the 1960s the cheerfully elated rhythms of mento would be found at every village festival. In the age of modern and Afro-American pop music, however, the most important and oldest folk tradition of Jamaica - which developed from the displaced Africans’ contact with European music - has fallen increasingly into the shadows. With violin, banjo, guitar, and rumba box this famous Jamaican group presents a piquant potpourri of mentos, folk tunes, religious songs, and American hits. The songs are not infrequently lewd, and they treat daily life with humor and satire.

The album was recorded on July 16th 1992 at the studios of Sender Freies Berlin with Gerald Myers(banjo), Clement Smalling and Sonny Borriel (guitar), Theodore Miller (violin), Cleveland Salmon (rumba box) and Jerome Williams on vocals.

1Quadrille (Instrumental)17:00
2Born Jamaican4:46
3Rivers Of Babylon / Lion Of Judah6:02
4Man Of Montego Bay4:01
5Island In The Sun2:20
6Day Oh!3:52
7Fan Me Soldier Man2:12
8Linstead Market3:24
9Shaving Cream (Instrumental)2:23
10Little Girl In Kingston Town3:06
11Grader Man2:57
12Revival Man2:32
13Tennessee Waltz4:08
14Weel An' Tune (Instrumental)3:41

Lititz Mento Band - Dance Music And Working Songs From Jamaica (1993)
(192 kbps, cover art included)