Steel Drum Jamboree

I thought this was another I had uploaded before but seems not. Steel drums don't record very well for some reason - they never have that magical sound you hear when you see them live. This recording is no exception - they sounds like they are playing inside a dungeon!

Wikipedia says -

"French planters and their slaves emigrated to Trinidad during the French Revolution (1789) from Martinique, including a number of West Africans, and French creoles from Saint Vincent, Grenada, Saint Lucia and Dominica, establishing a local community before Trinidad and Tobago were taken from Spain by the British. Carnival had arrived with the French, and the slaves, who could not take part in Carnival, formed their own, parallel celebration called canboulay.
Stick fighting and African percussion music were banned in 1880, in response to the Canboulay Riots. They were replaced by bamboo sticks beaten together, which were themselves banned in turn. In 1937 they reappeared, transformed as an orchestra of frying pans, dustbin lids and oil drums. These steelpans are now a major part of the Trinidadian music scene and are a popular section of the Canboulay music contests. In 1941, the United States Navy arrived on Trinidad, and the panmen, who were associated with lawlessness and violence, helped to popularize steel pan music among soldiers, which began its international popularization.
The first instruments developed in the evolution of steelpan were Tamboo-Bamboos, tunable sticks made of bamboo wood. These were hit onto the ground and with other sticks in order to produce sound. Tamboo-Bamboo bands also included percussion of a (gin) bottle and spoon. By the mid-1930s, bits of metal percussion were being used in the tamboo bamboo bands, the first probably being either the automobile brake hub "iron" or the biscuit drum "boom". The former replaced the gin bottle-and-spoon, and the latter the "bass" bamboo that was pounded on the ground. By the late 1930s their occasional all-steel bands were seen at Carnival and by 1940 it had become the preferred Carnival accompaniment of young underprivileged men. The 55-gallon oil drum was used to make steelpans from around 1947. The Trinidad All Steel Percussion Orchestra (TASPO), formed to attend the Festival of Britain in 1951, was the first steelband whose instruments were all made from oil drums. Members of TASPO included Ellie Mannette and Winston "Spree" Simon. Hugh Borde also led the National Steel Band of Trinidad & Tobago at the Commonwealth Arts Festival in England, as well as the Esso Tripoli Steel Band, who played at the World’s Fair in Montreal, Canada, and later toured with Liberace and were also featured on an album with him."

Tracks are -

1. Antigua Steel band
2. Happy Wanderer
3. Steel Band In "F"
4. Hold 'Em Joe
5. Ugly Woman



Steel Drum Jamboree - Side One

Ayinde Bakare

Another old highlife/juju LP from Nigeria. It has a raw earthy charm consisting mainly of hypnotic drums and chanting and tinny guitar. It has 30p scrawled on the front cover so I guess that's what I paid for it back in the 80's. The record on African Songs label would be from the 60's or 70's I would guess.

Ayinde's son says -

"My father Ayinde Bakare was the originator of Juju music, especially in Lagos in those days. They were the original creators of Juju music, not this ‘Owambe’ Juju music. They called their own music traditional, classical Juju music which was in the form of highlife. His own father was from Ajikobi compound in Ilorin. My dad was from a royal family and on account of that he was forbidden from playing music because musicians were seen as beggars and praise-singers. He father who was a trumpeter in the military brought him to Lagos. I was born in Lafiaji Oke Suna. So, I happened to know my dad as a musician. My dad had six children. I am the first.

Dad started his musical career with Tunde King. It was the same Tunde King who brought up the late Ambrose Campbell. My father’s mentor was Tunde King. They were playing a form of afro-Cuban Juju music. The music of that era was influenced by the Second World War. My father went to the warfront along with Tunde King, Nightingale and Ambrose Campbell. Most of them fought in the Second World War. It was there they were taught how to play guitar. They came back with a kind of Brazilian flavoured music.

The white men gave it the name Juju music but we called it ‘faaji’ music in those days. I was young when my dad was reigning as a star. It was his stardom that enticed me to learn how to play guitar. By then I knew Victor Uwaifo who was then a student as St. Gregory College. He was in Form Four and was living in our area. It was from him I saw a guitar book. I ordered for it from England and taught myself to play guitar. Every weekend I used to clean my father’s guitar in preparation for their going to play. That was my job: to clean the guitar with coconut oil. It was during the cleaning that I started learning how to play the guitar, using the guitar manual I ordered from England."

Tracks are as follows -

1. Ma Yowo Loro Mi
2. Ayoola Sosanya
3. Tesilimi Ayilara
4. Abo Oluwa
5. Egbe House


Ayinde Bakare - Side One

The Crowns

An LP on the Pama label from UK which is mainly known for home grown Ska and Reggae records in the 60's and 70's. This second division soul is pleasant enough but not a patch on Tamla Motown or Stax.

The sleeve notes by John Lea-Frances say -

"The Crowns really came about because the three buddies who virtually grew up together and sang together for "kicks" went their own separate ways when enlisted in Uncle Sam's forces. Trevor was dishing out uniforms at the U.S. Air Base, Omaha, Nebraska, when who should he see in line but Bunny and Bobby. Trevor exploded with "If that don't CROWN it all," and thus the name was born. Now some two and half years later, based here in London, the CROWNS are one of the most demanded soul harmony groups and their initial disc sales proved that their talent ranks with the greatest.
Seeing them on stage is enough to give anyone a nervous twitch at the sheer speed of their brilliant act."

Tracks are as follows -

1. Mellow Moonlight
2. I surrender
3. Let's Go Baby
4. Mr. Success
5. My Baby Just Cares For Me
6. Jerking The Dog


The Crowns - Side One

Stephen Osita Osadebe

Delightful jangly "highlife" from Nigeria circa 1975 as the LP title suggests. Another Cheshire Street or Brick Lane market purchase from the 80's. I thought I had featured it before but seems this is the first time.

Wikipedia says -

"In March 1936, Osadebe was born in Igbo town of Atani, in Southeastern Nigeria. He came from a line of singers and dancers in Igboland. His genre, Highlife encompassed Igbo musical elements. Along with this, calypso, samba, bolero, rumba, jazz and waltz were also present in Osadebe's musical style. It was in his high school years in Onitsha, a major commercial city near Atani, that Osadebe grew interested in music.
Osadebe started his career performing at nightclubs in Lagos in the southwestern region of Nigeria. He gradually worked his way up to releasing his first album in 1958. In his career Osadebe went on to write over 500 songs; half of these songs were released commercially. He had been a part of The Empire Rhythm Orchestra, led by E. C. Arinze in which he had learned much of his music skills.
As he became better established, Osadebe's style matured to include social commentary, similar to, but not as confrontational as Fela Kuti. Personal trials and tribulations was usually the main topic of his commentaries. Osadebe often extended his tracks for his audiences enjoyment, allowing room for 'people on the dance floor' to indulge in the songs.
Following the Nigerian Civil War in the late 60's, the massive exodus of the eastern peoples of Nigeria (especially the Igbo) out of western Nigeria had caused the death of the Highlife's prominence in the then capital, Lagos. During the war and after the war Osadebe maintained his scheduled live performances. Juju music and later Afrobeat took precedence in Lagos, and in the 70's James Brown and various other music forms became popular in the city. In this same decade Osadebe's career had reached its zenith. After turning 50 in 1986 Osadebe started to give priority to fatherhood and gave more of his time to his son Obiora and his other children from his wives. One of Osita Osadebe's last revered album's is "Kedu America".
Osita Osadebe died in St. Mary's Hospital Waterbury, Connecticut on the 11 May 2007 after suffering from severe respiratory difficulties."

Tracks are as follows -

1. Onu Kwube
2. Ejim Ofor Aga
3. Instrumental 1



Stephen Osita Osadebe - Side One

I'Agerie Etertelle

I think this Lp was from the remaindered stall down Cheshire Street from the 80's. Not played it before as it has some dodgy tracks covered in the label which has been aligned badly and bits have come off. So just the first 4 tracks of side two here.
You get a taste of what the LP is like anyway - lovely atmospheric flute and drums mostly recorded in the field by Gerard Kremer on the French Arion label in 1978.

Wikipedia says about Algerian music -

"Algerian music is virtually synonymous with raï among foreigners; the musical genre has achieved great popularity in France, Spain and other parts of Europe. For several centuries, Algerian music was dominated by styles inherited from Al-Andalus, eventually forming a unique North African twist on these poetic forms. Algerian music came to include suites called nuubaat (singular nuuba). Lately derivatives include rabaab and hawzii.
Music in Algeria in general offers a rich diversity of genre, popular music (Shaabi), Arabo-Andalusian music (Malouf San'aa, Gharnati, etc. ..) music classical Arabic, Bedouin, Berber music (Kabyle, Shawi, Tuareg, Etc. ..), Rai ...
Sha-bii is, in North African countries, folk music; in Algeria, however, it refers to a style of recent urban popular music, of which the best known performer was El Hajj Muhammad El Anka considered like the Grand Master of Andalusian classical music. True styles of folk music include hofii, a form of female vocal music, and zindalii, from Constantine.
Biyouna is an Algerian singer whos music is a mixture of pop, rock, raï, jazz and other types of music. Her last record Blonde dans la Casbah has been a great success.
Rai is a creative outlet to express political discontent,this music is a mix between Western music and Bedouin music. "Rai became an important means of cultural expression for a minority struggling to carve out an ethnic identity and a space for itself in an inhospitable, racist environment" Rai is more than simply cultural expression, it morphed into a unique blend of popular "rebel" music. "What makes raï so rebel, so politically charged, is the fact that it goes against the hard-line conservative government, a religiously fundamentalist establishment. Unlike traditional music, with its subtlety, flowery language, and innocuous subject matters, raï is notable for its blunt imagery and willingness to tackle subjects such as sex, booze, lust, and drink - all of which the deeply religious establishment frowns upon."
The Malouf is the Arab-Andalusian music of Constantine and is also well known in Tunisia and Libya, it is a very large number of diversified musical repertoire of Algeria. Nevertheless, malouf can not compete commercially with popular music, much of it Egyptian, and it has only survived because of the efforts of the Tunisian government and a number of private individuals. Malouf is still performed in public, especially at weddings and circumcision ceremonies, though recordings are relatively rare."

Tracks are -

1. Danse De Tiaret
2. Mariage Algerois
3. Danse Des Aures
4. Chant De Biskra

L'Algerie Eternelle - Side Two

Edikanfo

This LP from a remainder stall on Brick Lane was bought back in the 90's. Made in Holland on the EG label in 1981. Produced by Brian Eno. I guess this was around the time Brian was experimenting with "world music" with David Byrne and Talking Heads and projects like "My Life In The Bush Of Ghosts". The music is typical afro-beat similar to Fela Kuti and other stars from Ghana and Nigeria at that time.

Wikipedia says -

"By the beginning of the 1970s, traditionally styled highlife had been overtaken by electric guitar bands and pop-dance music. Since 1966 and the fall of President Kwame Nkrumah, many Ghanaian musicians moved abroad, settling in the US, UK and Nigeria. Highlife bands like Okukuseku recorded in Lagos or Nigeria's eastern Igbo region. In 1971, the Soul to Soul music festival was held in Accra. Several legendary American musicians played, including Wilson Pickett, Ike and Tina Turner and Carlos Santana. With the exception of Mexican-American Santana, these American superstars were all black, and their presence in Accra was seen as legitimizing Ghanaian music. Though the concert is now mostly remembered for its role as a catalyst in the subsequent Ghanaian roots revival, it also led to increased popularity for American rock and soul. Inspired by the American musicians, new guitar bands arose in Ghana, including the Ashanti Brothers, Nana Ampadu & the African Brothers, The City Boys and more. Musicians such as CK Mann, Daniel Amponsah and Eddie Donkor incorporated new elements, especially from Jamaican reggae. A group called Wulomei also arose in the 1970s, leading a Ga cultural revival to encourage Ghanaian youths to support their own countrymen's music. By the 1980s, the UK was experiencing a boom in African music as Ghanaians and others moved there in large numbers. The group Hi-Life International was probably the most influential band of the period, and others included Jon K, Dade Krama, Orchestra Jazira and Ben Brako. In the middle of the decade, however, British immigration laws changed, and the focus of Ghanaian emigration moved to Germany.

The Ghanaian-German community created a form of highlife called Burger-highlife. The most influential early burgher highlife musician was George Darko, whose "Akoo Te Brofo" coined the term and is considered the beginning of the genre. Burgher highlife was extremely popular in Ghana, especially after computer-generated dance beats were added to the mix. The same period saw a Ghanaian community appear in Toronto and elsewhere in Canada. Pat Thomas is probably the most famous Ghanaian-Canadian musician. Other emigres include Ghanaian-American Obo Addy, the Ghanaian-Swiss Andy Vans and the Ghanaian-Dutch Kumbi Salleh. In Ghana itself during the 1980s, gospel and reggae became extremely popular. The Genesis Gospel Singers were the most widely-known gospel band. By the late 1990s, a new generation of artists discovered the so called hip-life. The originator of this style is Reggie Rockstone, a Ghanaian musician who dabbled with hip-hop in the United States before finding his unique style. Hip-life has since proliferated and spawned stars such as Reggie Rockstone, Obrafour, Akyeame and Tic Tac."

Tracks are as follows -

1. Blinking Eyes
2. Moonlight Africa
3. Daa Daa Edikanfo


Edikanfo - Side Two

Purab Aur Pachhim (East and West)

I thought I had uploaded this LP before but couldn't find it in the archives which is strange as the Twinkle Twinkle Little Star track is a classic of Bollywood kitsch. Sadly the rest is rather ordinairy of it's type. Released in 1971 on the Odeon label and seems to have been the property of Radio Bolton at one time. A soundtrack recording from the film of the same name. All the best singers are here - Ash Bosle, Lata Mangeshkar etc.

IMDb says of the film -

"Circa British rule in India, Harnam betrays a freedom fighter, and as a result is rewarded, but the freedom fighter is killed, leaving his wife, and family devastated and destitute. Years later, the freedom fighter's son, Bharat, has grown up and goes to Britain to study. On his arrival in Britain, he is quite shocked to find that the Indian population settled there, shun India and Indians. He takes it upon himself to try and change their way of thinking, meets with Prithi, a Blondie of Indian origin, and both fall in love. Prithi accompanies him to India, and is appalled at the conditions that Bharat and his family in. Will this shock end their relationship?"

Tracks are -

1. Twinkle Twinkle Little Star
2. Raghupati Raghay - Ram Dhun
3. Koi Jab Tumhara Hriday Tod De
4. Purva Sunhani Aai Re
5. Om Jai Jagdish Hare - Aarti (Sad)


Purab Aur Pachhim - Side Two

Asian Pop

Not sure where this LP comes from - China, Tiawan, Japan? It's on the Hai Shan Records label from the 60's or 70's I would guess by the clothes the girl is wearing. If anybody knows do get in touch in the comments. It's rather dull sounding - the kind of stuff one imagines China would send to the European Song Contest in the 70's if they were eligible!

Chinese Pop - Side One

The Platters

Some doo wop for a change now with The Platters from the late 50's on this rather battered Mercury LP.

Wikipedia says -

"The Platters formed in Los Angeles in 1953 and were initially managed by Ralph Bass. The original group (Alex Hodge, Cornell Gunter, David Lynch,Joe Jefferson, Gaynel Hodge and Herb Reed) managed to land a contract with Federal Records, but found little success before meeting music entrepreneur and songwriter Buck Ram. The band recorded a series of singles backing Linda Hayes before Ram made some changes to the lineup, most notably the addition of lead vocalist Tony Williams (Linda Hayes' brother) and female vocalist Zola Taylor. Under Ram's guidance, the Platters recorded seven singles for Federal in the R&B/gospel style, scoring a few minor regional hits on the West Coast. One song recorded during their Federal tenure, "Only You (And You Alone)", originally written by Ram for the Ink Spots was deemed unreleasable by the label.
Despite their lack of chart success, the Platters were a profitable touring group, successful enough that The Penguins, coming off their #8 single "Earth Angel", asked Ram to manage them as well. With the Penguins in hand, Ram was able to parlay Mercury Records' interest into a 2-for-1 deal. To sign the Penguins, Ram insisted, Mercury also had to take the Platters. Ironically, the Penguins would never have a hit for the label."

Tracks are as follows -

1. Heart Of Stone
2. I'd Climb The Highets Mountain
3. Sptember In The Rain
4. You've Changes
5. I'll Get By
6. I Giove You My Word


The Platters - Side One

Roland Kirk

Not a great modern jazz fan but I do have this in my collection. Made in 1962 on the Mercury label. I love the cover photo of Kirk with three saxaphones which he could play all at once and still have room for a nose flute - though I may be making that up! One can see here the influence on Don Van Vliet and others and a kind magical waywardness that appealed to my art school contemporaries.

Wikipedia says -

"Kirk was born Ronald Theodore Kirk in Columbus, Ohio, but felt compelled by a dream to transpose two letters in his first name to make Roland. He became blind at an early age as a result of poor medical treatment. In 1970, Kirk added "Rahsaan" to his name after hearing it in a dream.
Preferring to lead his own bands, Kirk rarely performed as a sideman, although he did record with arranger Quincy Jones and drummer Roy Haynes and had notable stints with bassist Charles Mingus. One of his best-known recorded performances is the lead flute and solo on Jones' "Soul Bossa Nova", a 1964 hit song repopularized in the Austin Powers films (Jones 1964; McLeod et al. 1997).
His playing was generally rooted in soul jazz or hard bop, but Kirk's knowledge of jazz history allowed him to draw on many elements of the music's past, from ragtime to swing and free jazz. Kirk also absorbed classical influences, and his artistry reflected elements of pop music by composers such as Smokey Robinson and Burt Bacharach, as well as Duke Ellington, John Coltrane and other jazz musicians. The live album Bright Moments (1973) is an example of one of his shows. His main instrument was the tenor saxophone, supplemented by other saxes, and contrasted with the lighter sound of the flute. At times he would play a number of these horns at once, harmonizing with himself, or sustain a note for lengthy durations by using circular breathing, or play the rare, seldom heard nose flute. A number of his instruments were exotic or homemade, but even while playing two or three saxophones at once, the music was intricate, powerful jazz with a strong feel for the blues."

Tracks are -

1. We Free Kings
2. You Did It, You Did It
3. Some Kind Of Love
4. My Delight

Roland Kirk - Side Two