Another ska single from the archives. This time it's Joe Liges on the Blue Beat label from 1963. Joe Liges was apparently a name that a very young Delroy Wilson used to use. Pretty run of the mill stuff compared with what was coming out on Blue Beat at the time.
Wikipedia says -
"Wilson released his first single "Emy Lou" in 1961 for record producer, Clement "Coxsone" Dodd, at the age of thirteen. His early years with Coxsone yielded a number of ska hits, the biggest of which, the Lee Perry-written "Joe Liges" was an attack on rival producer and former Dodd employee Prince Buster. This was followed by another Perry-written attack on Buster, "Spit in the Sky". Further singles followed, including "One Two Three", "I Shall Not Remove", "Look Who Is Back Again" (a duet with Slim Smith), and another anti-Buster song, "Prince Pharaoh", notably the only record featuring the voice of Dodd himself.
His voice matured as he left his teens, around the time of ska's transition to rocksteady and this period in the late 1960s produced many hits including one of the first rocksteady records, "Dancing Mood", "Jerk in Time" (with the Wailers), "Feel Good All Over", "I'm Not a King", , "True Believer in Love", "Rain From the Skies", "Conquer Me" and "Riding For A Fall". "Won't You Come Home", a duet with Ken Boothe on a rhythm originally cut by The Conquerors for Sonia Pottinger has become one of the most-versioned Jamaican tracks ever. After leaving Studio One he recorded for numerous other producers, with varying degrees of success, and set up his own short-lived W&C label along with Wilburn Cole, and the similarly-fated Links label with Ken Boothe, The Gaylads and The Melodians. He enjoyed success with Bunny Lee in the late 1960s and early 1970s with tracks such as "This Old Heart of Mine", "Footsteps of Another Man", and "Better Must Come". His double A-side "It Hurts"/"Put Yourself in My Place" was a skinhead favourite and narrowly missed UK chart success. He recorded a version of "Run Run", a song he had originally recorded for Dodd, for maverick producer Keith Hudson.
1970 saw Wilson's first tour of the UK, where he also recorded a number of songs for the Trojan record label."
A single on the London label's Reggae Series from 1970. Ken Lazarus does a passable enough version of he Maytals "Monkey Man" and the more interesting "Bongo Nyah" on the flip.Not much about Ken on the internet but did find this -
"Jamaican ska and reggea singer. Probably best known for his work as a lead singer in Byron Lee's Dragonaires band. In the early 60s the band toured extensively in the Caribbean which made Ken Lazarus a popular singer on the island. He also became famous as a highly commercial cover artist. Later on he changed his style, recording roots and culture sides."
More ska on the Unity label from 1968. Uninspired and rather monotonous "A" side by The Clique but nice instrumental by Lester Sterling on the "B" side. The "Reggie" On Broadway made me laugh too! A missprint I presume!
Wikipedia says -
"Like many Jamaican musicians of his generation, Sterling attended the Alpha Boys School. A founding member of The Skatalites (playing alto saxophone),] he is commonly overshadowed by well-known band members such as Tommy McCook, Jackie Mittoo or Don Drummond. After The Skatalites originally disbanded in 1965, Sterling recorded several solo singles for the London-based producer "Sir" Clancy Collins. Sterling rejioned the Skatalites when they reformed in 1975. The band have continued on and off with a varying line-up since, and Sterling is the only founding members still with the band."
A single from the dusty ska and reggae box. This one on the Ska Beat label from 1965. I presume the "A" side is by Owen & Leon Silvera who are new to me. The "B" side by Baba Brooks with Don Drummond on the trombone.
Wikipedia says -
"Oswald "Baba" Brooks aka Baba Leslie (born c.1935) was a trumpet player who played jazz in the 1950s with the Eric Dean orchestra and recorded during the 1960s original Jamaican ska era for producers Duke Reid, Sonia Pottinger and her husband Lindon, King Edwards, and Prince Buster.
Brooks was born in Kingston, Jamaica c.1935. He played trumpet on recording sessions from the late 1950s onwards, often uncredited, and formed his own band in the early 1960s, having a hit in 1962 with "Independence Ska", which celebrated Jamaica's break from colonialism. he also performed on several sessions with The Skatalites. He had further hits in 1964 with "Bus Strike" and "Musical Workshop".The band followed this in 1965 with "Guns Fever", recorded at Studio One. Brooks and his band continued to play on recording sessions until the early 1970s."
A while since I uploaded any old Charlie Gillett radio shows so here's two from the 80's and early 90's. The first with guest Fred Zindi about the music scene in Zimbabwe featuring The Real Sounds, Thomas Mapfumo, Lovemore Majavano etc. and the second a truncated Foreign Affair with no guest but the usual eclectic mix of music from all over the world.
The Zimbabwe Herald said -
"Fred Zindi's Music Guide for Zimbabwe is an easy to read book that takes its reader down memory lane by acknowledging the development of music within a historical context.
It traces the evolution of music as personified by the outstanding talents of some music celebrities whose illustrious careers have shaped western, Jazz, Caribbean and Zimbabwean music.
The book targets music teachers, music promoters, sociologists, radio broadcasters; music students; musicians; music researchers; cultural activists and politicians. Zindi's book also acknowledges the music industry as a business dictated by certain regulated norms bordering on issues to do with copyright, royalties; understanding publishing contracts; licensing and music promotion."
An LP on the Stetson label from 1963 found in a charity shop today. Unusual to hear each track introduced by a master of ceremonies - T. Tommy Cutrer. A nice introduction to the music of the Bayous with some old favourites including Jolie Blon, Angeline and Grand Basile.
Wikipedia says -
"Newman was born near Big Mamou, Louisiana. As a child, he listened more to Gene Autry than to the Cajun music of the area, but had a number of Cajun songs in his repertoire when, as a teenager, he joined Chuck Guillory’s Rhythm Boys. He recorded a few unsuccessful sides for J.D. Miller’s Future label in the 1940s, but Miller persuaded Fred Rose in Nashville, Tennessee to give the young singer an opportunity. In 1953, he was signed to Dot Records and the following year recorded "Cry, Cry Darling", which reached No. 4 on the country chart.
His recording success led the Louisiana Hayride in Shreveport, Louisiana, to hire him as a regular performer. His next four records all reached Top 10 status, and in 1956 he was invited to become a member of the Grand Ole Opry. That following year he released his biggest hit, "A Fallen Star", which spent two weeks at No. 2 and also entered the top 25 of the Billboard Hot 100 pop chart.
As an established artist, he began to integrate his Cajun influences into his music and recorded "Alligator Man", which was a top 25 record and continues to be his theme song at the Opry. In 1963, he released another top 10 hit, "The D.J. Cried". His final hits came in 1965 and 1966 with "Artificial Rose" and "Back Pocket Money". When his commercial popularity declined he returned to Cajun music, forming his Cajun Country band and taking the high energy fiddle- and accordion-based music of his native Louisiana to fans around the world. In 1976, his recording of the Cajun French song, "Lâche pas la patate" ("The Potato Song") earned gold record status in Canada. In 1991, Newman and Cajun Country earned a Grammy nomination for their album, Alligator Man.
In 2000, he was inducted into the North American Country Music Association’s International Hall of Fame and in 2004 was inducted into the Cajun Hall of Fame. He is also honored in the Cajun Music Hall of Fame in Lafayette, Louisiana, and in 2009 he was inducted into The Louisiana Music Hall of Fame.
Newman and his wife made their home on their 670-acre (2.7 km2) ranch outside of Nashville in Murfeesboro. He continues to tour and appears regularly at the Grand Ole Opry. In 2006, he joined a select group of entertainers who have marked 50 years of Opry membership."
I think I found this three record boxed set at a remaindered record shop in Barking in the 80's. It was released in the Vulcan label in 1974. It's called "Grounation" and by Count Ossie and The Mystic Revelation of Rastafari.
"The foundations of reggae and its association with Rastafarianism were established by drummer, percussionist and vocalist Count Ossie (born: Oswald Williams). Together with his band, the Mystic Revelation of Rastafari, Count Ossie combined African-influenced music with the European hymnal tradition to create a unique sound that inspired everyone from Ras Michael and the Sons of Negus and the Skatalites to Bob Marley & the Wailers and Toots & the Maytals.
Count Ossie's earliest inspiration came from rasta elder Brother Job, who introduced him to the philosophies of Rastafarianism. A Nyabinghi drummer from the hills of Jamaica, Count Ossie cut his first singles, including "O'Carolina" and "Chubby," for Prince Buster at the studios of RJR radio. Beginning in 1959, Count Ossie recorded for Sir Coxsone Dodd at Studio One.
Together with music director, tenor saxophone, flute and clarinet player Cedric "I-m" Brooks, Count Ossie formed the Mystic Revelation Of Rastafari. Heavily percussive, the group featured philosopher orator Samuel Clayton, double bass player, poet and vocalist Ras Jose, Ras Jose, Little Bop and Count Ossie's son, Time, on fundae drum, bass drummer and percussionist King Rayo, percussionist and vocalist Bunny, percussionist Moses, baritone saxophone and clarinet player Ras Sam II and trombonist Nambo.
There has been some debate as to the cause of Count Ossie's death in 1976. While some sources claim that he was in an auto accident, others say that he was trampled to death when a crowd panicked at the National Arena."
Continuing the celebration of the radio shows of much missed DJ Charlie Gillett this week's show comes from November 1982 I think and guests Jerry leiber and Mike Stoller who almost single-handedly wrote much of the rock 'n' roll hits of the 50's, including Charlie Brown, Hound Dog, Yakety Yak etc. They were over to see the opening of a musical based on their songs featuring Darts called Yakety Yak,
Charlie is in his element here with two of his heroes and its a lively show with plenty of banter and great songs they wrote or have chosen.
Wikipedia says -
"Their first successes were as the writers of such crossover hit songs as "Hound Dog" and "Kansas City." Later in the 1950s, particularly through their work with The Coasters, they created a string of ground-breaking hits that are some of the most entertaining in rock and roll, by using the humorous vernacular of the teenagers sung in a style that was openly theatrical rather than personal, songs that include "Young Blood," "Searchin'," and "Yakety Yak." They were the first to surround black music with elaborate production values, enhancing its emotional power with The Drifters in "There Goes My Baby" and influencing Phil Spector who worked with them on recordings of The Drifters and Ben E. King. Leiber and Stoller went into the record business and, focusing on the "girl group" sound, released some of the greatest classics of the Brill Building period.
They wrote hits including "Love Me," "Loving You," "Don't," and "Jailhouse Rock," among others for Elvis Presley. They were inducted into the Songwriters Hall of Fame in 1985 and Rock and Roll Hall of Fame in 1987."
Two short sides on an LP in the wrong sleeve I just discovered but has been in my collection for a long time. Fela seems to be going through a resurgeance now due to the West End stage show "Fela". Some typically danceable afrobeat here from 1970.
Wikipedia says -
"Fela was born Olufela Olusegun Oludotun Ransome-Kuti in Abeokuta, Ogun State, Nigeria into a middle-class family. His mother, Funmilayo Ransome-Kuti was a feminist activist in the anti-colonial movement and his father, Reverend Israel Oludotun Ransome-Kuti, a Protestant minister and school principal, was the first president of the Nigerian Union of Teachers. His brothers, Beko Ransome-Kuti and Olikoye Ransome-Kuti, both medical doctors, are well known in Nigeria. Fela was a first cousin to the Nigerian writer and Nobel laureate Wole Soyinka, the first African to win a Nobel Prize for Literature.
Fela was sent to London in 1958 to study medicine but decided to study music instead at the Trinity College of Music. While there, he formed the band Koola Lobitos, playing a fusion of jazz and highlife. In 1960, Fela married his first wife, Remilekun (Remi) Taylor, with whom he would have three children (Femi, Yeni, and Sola). In 1963, Fela moved back to Nigeria, re-formed Koola Lobitos and trained as a radio producer for the Nigerian Broadcasting Corporation. He played for some time with Victor Olaiya and his All Stars. In 1967, he went to Ghana to think up a new musical direction. That was when Kuti first called his music Afrobeat. In 1969, Fela took the band to the United States. While there, Fela discovered the Black Power movement through Sandra Smith (now Izsadore)—a partisan of the Black Panther Party—which would heavily influence his music and political views and renamed the band Nigeria '70. Soon, the Immigration and Naturalization Service was tipped off by a promoter that Fela and his band were in the U.S. without work permits. The band then performed a quick recording session in Los Angeles that would later be released as The '69 Los Angeles Sessions.
After Fela and his band returned to Nigeria, the band was renamed The Africa '70, as lyrical themes changed from love to social issues. He then formed the Kalakuta Republic, a commune, a recording studio, and a home for many connected to the band that he later declared independent from the Nigerian state. Fela set up a nightclub in the Empire Hotel, named the Afro-Spot and then the Afrika Shrine, where he performed regularly. Fela also changed his middle name to Anikulapo (meaning "he who carries death in his pouch"), stating that his original middle name of Ransome was a slave name. The recordings continued, and the music became more politically motivated. Fela's music became very popular among the Nigerian public and Africans in general. In fact, he made the decision to sing in Pidgin English so that his music could be enjoyed by individuals all over Africa, where the local languages spoken are very diverse and numerous. As popular as Fela's music had become in Nigeria and elsewhere, it was also very unpopular with the ruling government, and raids on the Kalakuta Republic were frequent."
I uploaded the first side some months back so as a treat here's the second side. Its one I found at Brick Lane flea market many years ago for a few pence. Its on the Polydor label and made in what was Rhodesia and is now a troubled Zimbabwe. Sleeve printed in Germany. No date but imagine it would be late 50's or early 60's.
No info. on the internet so just a little information on the sleeve notes.
" Polydor presents a unique collection of popular African tunes sung ina variety of native languages by one of the best known vocal groups in Rhodesia, The City Quads. The performance you hear on this LP could be called a mixture of African folklore and pop songs of a kind one is always likely to hear wherever people gather together in an African township."
Tracks are as follows -
1. Abazali - The hero of this song has always been "sitting pretty". He was looked after well in childhood and received many presents, and now he is riding from the township to the city of Salisbury on top of the only double decker bus on the route.
2. Zonki Ntsuku - A rather anxious young man sings: "You know that I have always told you how I love you - and now I am worried about you".
3. Mbaravozi - A song of bad omens, of things Africans would not like to find - indeed, are not likely to find:
A monkey sitting in a fireplace.
A large tiger fish turning round and round dodging the fisherman until it looks like a small sardine.
Finding a fish where the kingfisher should be and a bird where the fish lives.
4. Wacitu Mozi - Among the many existing songs about the supernatural, we have chosen this one which describes how a woman destroyed a village by witchcraft and how she herself was later killed by her husband.
5. Ndafuna Funa - A lover's lament.
6. Mai Ndarira - When a African child is ill it always asks to be carried on it's mother's back rather than be put to bed.
7. Chipo - In this song the child is lost. "Where are you? Father and Mother are looking for you in the hills and dales, but you are nowhere to be found".
Another hissy 78 from the 20's or perhaps even earlier. This disc is a mini 78 - only 8 inches across. I have featured G.H. Elliot before and happy to do so again despite the rather politically uncorrect nick name he used.
Wikipedia says -
"G. H. Elliott (1882–1962) was a British music hall singer and dancer. He was born George Henry Elliott in Rochdale, Lancashire in 1882. Known as the "Chocolate Coloured Coon", he came on stage with a painted black face but dressed entirely in white. He had a white top hat, a white tail-coat which came down well below the knees, white gloves, white tie or cravat, white trousers, white shoes and a white cane.
He and his family emigrated to the United States when he was four. There he played juvenile parts on stage including the title role in Little Lord Fauntleroy. He was a member of the Primrose West Minstrels at the age of nine where he first blacked up.
The family returned to England in 1901 where he continued to perform on the music hall stage. After a number of years treading the boards he rose to top of the bill. He was influenced by Eugene Stratton who also used to black up and he sang some of Stratton’s songs particularly Lily of Laguna which he sang in tribute to his hero. Among the songs particularly associated with him are Idaho, I Used To Sigh For The Silvery Moon and Sue, Sue, Sue.
He appeared in two films Music Hall (1934) and Those Were the Days (1934 film) and in This is Your Life as Himself in 1957.
He appeared in two Royal Variety Performances, in 1925 and 1948. He made over 100 records, his first on a wax cylinder and his last in 1960.
He was married twice, first to Emily Hayes who died in 1940 and then to Florence May Street, known as June. She had been an acrobat in acts as various as the Martinez Troupe/Duo and Sereno (Harry Sereno) and June.
G. H. Elliott retired to Rottingdean, Brighton where he lived in a cottage he named Silvery Moon after his song I Used to Sigh for the Silvery Moon. He is buried in the churchyard of St Margaret's Church, Rottingdean and his gravestone shows a stage with curtains drawn back. It bears the words: "The last curtain call for G H Elliott The Chocolate Coloured Coon who passed peacefully away 19 November 1962. Dearly loved R.I.P."
An old scratchy 78 from the boot sale today. I think I may have this already but couldn't find it on here so here it is in all it's hissy fizzy glory.
Wikipedia says -
"As music hall comedians, they would often feature a mixture of comedy and music in their act; this led to a successful recording career as a duo and roles in film and television. Just prior to and throughout the Second World War they appeared in several films helmed by Marcel Varnel and John Baxter. Flanagan and Allen were both also members of The Crazy Gang and worked with that team for many years concurrently with their double-act career.
Flanagan and Allen's songs featured the same, usually gentle, humour for which the duo were known in their live performances, and during the Second World War they reflected the experiences of ordinary people during wartime. Songs like 'We're Gonna Hang out the Washing on the Siegfried Line' mocked the German defences (Siegfried Line), while others like 'Miss You' sang of missing one's sweetheart during enforced absences. Other songs, such as their most famous, 'Underneath the Arches' (which Flanagan co-wrote with Reg Connelly), had universal themes such as friendship. The music was usually melodic, following a binary verse, verse chorus structure, with a small dance band or orchestra providing the accompaniment. The vocals were distinctive because while Flanagan was at least a competent singer and sang the melody lines, Allen used an almost spoken delivery to provide the harmonies.
The recordings of Flanagan and Allen remain popular, and the duo are frequently impersonated by professionals and amateurs. Royal Variety Performances often feature people 'doing a Flanagan and Allen', notably Roy Hudd and Christopher Timothy, Bernie Winters and Leslie Crowther. In 1980 the latter two featured in a one-off musical drama about the duo produced by ATV for the ITV network.
The later comedy team Morecambe and Wise, who often expressed their admiration for Flanagan and Allen, recorded a tribute album, Morecambe and Wise Sing Flanagan and Allen (Phillips 6382 095), in which they performed some of the earlier team's more popular songs in their own style, without attempting to imitate the originals. Fans of either comedy team may be slightly disappointed by this album, since all of the selections are performed absolutely straight, with no comedy except for a brief amount of banter after one of the songs. Run Rabbit Run was one of their best hits in World War Two."
A strange mixture of styles on this Allegro Lp from 1966 I bought today at a boot sale. Mostly generic calypso but padded out with steel band and west indian drums on a couple of instrumental tracks. Also some ska thrown in for good measure.
His website says -
"Russ Henderson was born in the Belmont Neighbourhood of Port of Spain, Trinidad, in 1924. By the 1940s he had formed his own band, the Russ Henderson Quartet. The group became well known and loved throughout the island, delighting dance halls and clubs with their rhythm and soul.
Russel came to England from his home town of Port of Spain in 1951 to study piano tuning at the North London Polytechnic in Holloway Road. An agent persuaded him to form another band after hearing him play the steel pan. So, Russ Henderson and his Trinidadian Steel Band was formed and a gloomy post-war Britain lit up to the sound of the Caribbean.
Russ Henderson receiving an MBE for Services to Music
Over the coming years, Russ set about embedding Caribbean music in the British culture. He taught school children how to play steel pan and lead his band into starting the Notting Hill Carnival. He toured the country with his band, playing on television shows, in films, in clubs, at Cambridge University balls and even at Prince Andrew's 21st birthday party at Windsor Castle. He was recently knighted as MBE by Prince Charles and now in his 80s, he is still a regular performer at the jazz connisseur's 606 Club in Lots Road, Chelsea."
Tracks are -
1. Walking The Dog
2. Coconut Woman
3. Yellow Bird
4. Stone Cold Dead In De Market
5. Peanut Vendor
1. Sammy Dead Oh!
2. Non Ho L'eta Per Amarti
4. Jamaica Farewell
5. West Indian Drums
Another comedy country Lp from the charity shop the other day. I have featured Homer and Jethro before but happy to share this side which is a compilation of some of their best from the 50's and 60's on RCA.
Wikipedia says -
"Homer and Jethro were the stage names of American country music duo Henry D. Haynes (1920–1971) and Kenneth C. Burns (1920–1989), popular from the 1940s through the 1960s on radio and television for their satirical versions of popular songs. Known as the Thinking Man's Hillbillies, they received a Grammy in 1959 and are members of the Country Music Hall of Fame.
Haynes and Burns met in 1936 during a WNOX-AM audition in Knoxville, Tennessee when they were both 16 years old. Known as Junior and Dude (pronounced "dood'-ee"), the pair was rechristened Homer (Haynes) and Jethro (Burns) when WNOX Program Director Lowell Blanchard forgot their nicknames during a 1936 broadcast. In 1939 they became regulars on the Renfro Valley Barn Dance radio program in Dayton, Ohio.
They were drafted into the US Army during World War II but served separately; they reunited in Knoxville in 1945, and in 1947 they performed on WLW-AM's Midwestern Hayride in Cincinnati. They sang exaggerated hillbilly-styled versions of pop standards as their comedic hook, with Haynes on guitar and Burns on mandolin. They originally recorded for King Records, where they also worked as session musicians backing other artists until a dispute over song credits with label owner Syd Nathan led Nathan to release them from the label. The duo and other stars were fired by new management at WLW in 1948, and after a brief tour, they moved to Springfield, Missouri and performed on KWTO-AM with Chet Atkins, the Carter Family and Slim Wilson."
Tracks are as follows -
1. Daddy Played First Base
2. What Have You Done For Me Lately
4. Ballad Of Davey Crewcut
5. We Did'nt Make It Through The Night
6. Please Help Me I'm Crawling
7. Sink The Bismark
"The group was formed in Kingston in the mid-1960s by singer George "Clive" Murphy who formed a duo with Maurice "Professor" Johnson. They called themselves the Tennor Twins. They auditioned a song called "Pressure and Slide" in 1967 while sitting in the back of a taxicab for arranger Jackie Mittoo of Studio One. Murphy and Johnson were then joined by Norman Davis, and the trio recorded the song backed by Mittoo. This, their first single, was one of the major Jamaican hits for the year 1967, but, according to Murphy, the group never received any royalties for the track.
Rather than continue to deal with Studio One record producer Coxsone Dodd, the Tennors formed their own label and grew its own stable of artists. The accidental death of Johnson reduced the trio back to a duo, and Murphy and Davis continued as songwriters. They offered their song, "Ride Yu Donkey", to many artists, but ended up recording it themselves after it was turned down. The song was released in 1968 and was a huge hit.
Other songs by the Tennors included "Cleopatra (I've Got to Get You Off My Mind)", "Grandpa", Massi Massa", "Girl You Hold Me" and "Rub Me Khaki", "Sufferer", "Sign of the Times", "Biff Baff" (aka "Traitor"), "Bow Legged Girl", "Little Things", "Cherry" and "Oh My Baby".
The group became a trio again with the addition of Ronnie Davis in 1968. Other singers who were in the Tennors included Nehemiah Davis, George Dekker, Howard Spencer, and Hilton Wilson. The trio backed singer Jackie Bernard on "Another Scorcher", and moved towards reggae with the song "Reggae Girl"."
I had high hopes of this being more traditional Irish music than the rather lack lustre folk that we get here. The cover photo features a Uillean pipe player but no sign of it on the songs on side two at least.
"The story, as outlined by the ARC Records sleeve notes, stated that: "The Abbey Tavern Singers were formed in 1962 when Mrs. (Minnie) Scott-Lennon of the Abbey Tavern in Howth, Dublin decided that musicians and balladeers performing in a relaxed sing-along manner would be popular. Within a short time the newly formed Singers were drawing capacity crowds into the Howth establishment. In 1966 a solid Irish rouser "We're Off To Dublin In The Green" featuring the singers was released on TV as a beer commercial. This ad created by Carling Breweries Ltd. increased the group's popularity many times over and indeed in Canada listening to the Abbey Tavern Singers fast became the new national past-time. This song-come-jingle was then released on record by the Singers and became an international hit. Shortly thereafter the Abbey Tavern Singers toured North America and charmed the continent."
An EP I found (no sleeve ) in the Hospice shop today. I was intrigued by the name and the title. Turns out to be a rather dull story about a boy and his pet seagull.
"Brinton Turkle was born on August 15,1915 in Alliance, Ohio. He drew constantly in school. "Unfortunately, none of my school teachers appreciated it. If only one elementary school teacher had egged me on, I think I would have acquired art skills much earlier than I did." Turkle had an immense interest in the theatre, but the uncertainty of that life wasn't appealing. After a job in advertising in Chicago, he married and moved to Santa Fe, New Mexico, where he was able to indulge his theatrical interests. He had an ambition to write and illustrate three children's books so he could dedicate them to each of his three children. He was awarded a Caldecott Honor in 1970 for Thy Friend, Obadiah (Viking).
Turkle writes, "In writing, I use all sorts of tricks to capture the attention of my young audience: suspense, humor and even charm, when I can muster it. But no matter how successfully I may entertain, I am really up to something else: subversion. My abilities are implacably lined up against the hypocrisy, materialism and brutality that so pervade our society. As my readers leave childhood behind, I hope that they will carry with them an appreciation for such alternatives as integrity, mutual respect, kindness and reverence for life. These alternatives are in my books and I pray that exposure to them will play a part in the construction of a better tomorrow."
More scratchy ska from the archives. This time it's on the Treasure Isle label. Tommy McCook and the Supersonics play on both but the "A" side is sung by The Techniques.
Wikipedia says -
"The group was formed by Winston Riley in 1962 while still at school, with the initial line-up also featuring Slim Smith, Franklyn White, and Frederick Waite. They regularly performed at Edward Seaga's Chocomo Lawn club, where they were spotted by talent scouts from Columbia Records, who released their first single, "No One", released only in the United Kingdom in 1963. Their Jamaican debut came in 1965 when they were introduced to producer Duke Reid by singer Stranger Cole, with Reid-produced singles such as "Don't Leave Me", "When You Are Wrong", "and "Little Did You Know" appearing on labels such as Island Records, and Reid's own Duke and Treasure Isle labels. Smith left the group in 1966, to pursue a solo career at Studio One, and later forming The Uniques with White. He was replaced by Pat Kelly. The shift from ska to rocksteady suited The Techniques, with a string of hits in 1967 and 1968 following, including "You Don't Care", "Queen Majesty", "I Wish It Would Rain", "It's You I Love", and "Love Is Not a Gamble".
The group left Treasure Isle in 1968, with Riley setting up his own 'Techniques' record label, releasing further sides by the group and also his productions of other artists. The group's line up changed regularly with Riley the only constant member. Other members in the late 1960s included Lloyd Parks, Bruce Ruffin, and Dave Barker. Kelly returned for a time, recording lead vocals on "What Am I To Do?"."
Another rather scratched and battered ska single from the 60's, this time on the Success label distributed by Pama Records. I think the labels are on the wrong way round as the instrumental track says it features Rupie Edwards who is a singer.
Wikipedia says -
"Rupie Edwards, an only child, moved to Kingston in 1958, where he set up his first band while still at school. His first recording was "Guilty Convict" b/w "Just Because", for L.S. 'Little Wonder' Smith in 1962, released on Melodisc's Blue Beat label in the UK, and was paid £15 for the session. After recording a few singles, he became involved with the Virtues and, from 1968, started to focus only on his own productions.
By the beginning of the 1970s, apart from releasing singles as a singer, he had recorded artists like The Heptones, Bob Andy, Johnny Clarke, Joe Higgs, Gregory Isaacs and The Ethiopians on his own record labels 'Success' and 'Opportunity'. He also worked with DJs such as U-Roy and I-Roy, and released some instrumental versions with his studio band, The Rupie Edwards All Stars. The group included musicians such as saxophonist Tommy McCook, trombone player Vin Gordon, drummer Carlton 'Santa' Davis, guitarist Hux Brown, pianist Gladstone Anderson, bassist Clifton 'Jackie' Jackson and organist Winston Wright."
Another single from the dusty ska and reggae box. This time on the Punch label from Pama Records in London. Produced by Lee Perry? Late 60's again I imagine. Not sure which is the "A" side- not that it matters. Both are good.
Wikipedia says -
"Perry's musical career began in the late 1950s as a record seller for Clement Coxsone Dodd's sound system. As his sometimes turbulent relationship with Dodd developed, he found himself performing a variety of important tasks at Dodd's Studio One hit factory, going on to record nearly thirty songs for the label. Disagreements between the pair due to personality and financial conflicts, a recurring theme throughout Perry's career, led him to leave the studio and seek new musical outlets. He soon found a new home at Joe Gibbs's Amalgamated Records.
Working with Gibbs, Perry continued his recording career but, once again, financial problems caused conflict. Perry broke ranks with Gibbs and formed his own label, Upsetter, in 1968. His first single "People Funny Boy", which was an insult directed at Gibbs, sold well with 60,000 copies sold in Jamaica alone. It is notable for its innovative use of a sample (a crying baby) as well as a fast, chugging beat that would soon become identifiable as "reggae" (the new kind of sound which was given the name "Steppers"). From 1968 until 1972 he worked with his studio band The Upsetters. During the 1970s, Perry released numerous recordings on a variety of record labels that he controlled, and many of his songs were popular in both Jamaica and the UK. He soon became known for his innovative production techniques as well as his eccentric character.
In the early 1970s, Perry was one of the producers whose mixing board experiments resulted in the creation of dub. In 1973, Perry built a studio in his back yard, The Black Ark, to have more control over his productions and continued to produce notable musicians such as Bob Marley & the Wailers, Junior Byles, Junior Murvin, The Heptones, The Congos and Max Romeo. With his own studio at his disposal, Perry's productions became more lavish, as the energetic producer was able to spend as much time as he wanted on the music he produced. Virtually everything Perry recorded in The Black Ark was done using basic recording equipment; through sonic sleight-of-hand, Perry made it sound unique. Perry remained behind the mixing desk for many years, producing songs and albums that stand out as a high point in reggae history."
Another ska single from the archives On the Rio label from the late 60's. The "A" side has a vocal by Marcia Griffiths and the "B" is an instrumental by the Soul Bros.
" The Soul Brothers bridged the gap between Ska and the arrival of Rocksteady mixing it all up with Funk, Jazz and Latin styles. The Soul Brothers recorded at Studio One between 1965-1967. This was the transitionary period between Ska and Rocksteady where the music was a mixture of Funk, Latin and Jazz sometimes with a reminder of Ska and the hint of Rocksteady. The previous era of Ska had been dominated by the Skatalites."
Not much gleaned on the interweb about this one although some say it's lead voval is by someone called Dudly Williamson of whom I know nothing. Pleasant enough ska/rock steady song. Also issued on Trojan I believe at some point. Originally released in 1968.
Another Nowegian buy from a junk shop in Hamar. Mostly religious songs one suspects from the other records in the pile. This LP is on the Hemmets Harold label and features a motely crew who play instruments ranging from accordion to trumpet. I suspect a search on the internet will prove as fruitless as the others but any knowledge of this and previous postings much appreciated.
Tracks are as follows -
1. Var Glad Och Sjung 2. Snart Kommer Solen Ater 3. Hem O Hem 4. Hans Namn Ar "Underbar" 5. Men Vid hemmets Dorr 6. Ja, Han Gar Med
Another of my Norwegian vinyl purchases which turned out to be Swedish but attracted by amusing sleeve and title and the price of just one krona. One the Mariann label and released in 1975 and features songs from 1962 to 1974 that were big hits on Scandinavia I presume? Some covers here which stand out especially Bonnie B and maudlin rendition of Danny Boy.
Tracks are -
1. Kors I Josse Namn 2. En Spannande Dag For Josefine 3. Bonnie B 4. Nagonting Har Hant 5. Nina Fina Ballerina 6. Danny Boy 7. Upp Och Ner 8. Lika Bla Som Nina Ogon
We went to Norway recently for a few days and I managed to buy some vinyl in various junk shops and markets. Hoping for amusing home grown Norwegian music but managed to buy two Swedish records by mistake much to the amusement of our hosts. Well, it is hard to tell them apart at first glance! Anyway, this first record is actually Norwegian and a selection of songs that graced the Norwegian charts in the 60's I would guess. Nothing much special here but do listen to the last track by Arne Bendiksen which features some horrific yodelling!
Wikipedia says of Arne Bendiksen -
"Arne Joachim Bendiksen, born 19 October 1926 in Bergen, Norway, died 26 March 2009, was a Norwegian singer, composer and producer, described as "the father of pop music" in Norway.
In the 50s, 60s and 70s, he was a major figure in Norwegian popular music. First, as a member of the group The Monn Keys, later as soloist and composer for other artists. Besides writing his own songs, he also translated many foreign hits into Norwegian, making them Norwegian hits. Arne Bendiksen took part in the Norwegian Eurovision Song Contest selections several times, both as an artist and as a songwriter. Three times he represented Norway in Eurovision as singer; in 1964 (Eurovision Song Contest 1964) with Spiral as soloist, in 1973 (Eurovision Song Contest 1973) with Å, for et spill and in 1974 (Eurovision Song Contest 1974) with Hvor er du?. Four times he took part as composer, most memorable as songwriter for Åse Kleveland's Intet er nytt under solenin 1966 (Eurovision Song Contest), finishing a strong third.
Beginning in 1964 he was the boss of his own record company. Thanks to him, popular artists like Wenche Myhre and Kirsti Sparboe reached fame. However, in the Eurovision Song Contest finals of 1969, Norway received a mere 1 point for the song Oj, oj, oj, så glad jeg skal bli, which was composed by Arne Bendiksen and performed by Kirsti Sparboe.
Arne did not let this crush his spirits though, and he continued his dedicated work as a singer/songwriter throughout the 70s. In the 80s, he gave a shot at the popular children's cassette industry and released his major children's work Barnefest i Andeby - Children's party in Duckburg - a cassette filled with catchy songs about the various Disney characters inhabiting the fictional city of Duckburg. This popular cassette got a sequel, released especially for the Christmas season, called Jul i Andeby - Christmas in Duckburg.
In June 2006, his all-new self-composed children's musical stage debuted in the small elementary school Fjellstrand Skole in Nesodden, Akershus.
Arne Bendiksen died on 26 March 2009, after having been sick for a short period of time. The cause of death was heart failure."
Tracks are as follows -
1, En Student Fra Uppsala - Kirsti Sparboe 2. Ruby - Benny Borg 3. Ved Horisontens Rand - Finn Eriksen 4. Arizona - Lillian Askeland 5. Friarvise Fra Aust-Agder 6. Med Tuba Og Tyrolerhatt - Arne Bendiksen
At first glance one would think from the sleeve that Jack Jackson would be singing or DJ'ing on this Heinz promotional EP from the 60's but he's just on the sleeve to endorse the record which is a pretty MOR come trad jazz with cringey vocal group who sound a bit like the Mike Sammes Singers. The trombonist sounds a bit like George Chisholm? I will try and glean more on the internet but don't hold out much hope.
Wikipedia says of Jack Jackson -
"He was born in Barnsley, the son of a brass band player and conductor, and began playing cornet at the age of 11 before playing violin and cello in dance bands.He learnt to play trumpet and worked in swing bands in circuses, revues, ballrooms and ocean liners before joining Jack Hylton's band in 1927. He left Hylton in 1929, freelanced for a while, and then joined Jack Payne's band in 1931. He left Payne to form his own band in 1933. By 1939, the band was resident at the Dorchester Hotel in London, and had a regular radio show on Radio Luxembourg.
After the war he decided not to reform his band, and turned to compering on the BBC Light Programme in such shows as "Record Roundabout", which ran from 1948 to 1977. His methods of presentation included punctuating records with surreal comedy clips, and using quick cutting of pre-recorded tapes to humorous effect. This was a major influence on later British DJs such as Kenny Everett and Noel Edmonds. He also had a chat show on TV in 1955.
He emigrated to Tenerife in 1962, sending his taped programmes by air to the BBC each week. Suffering from a bronchial illness, he returned to England to live in 1973, and died at Rickmansworth in 1978.
He is remembered as a member of the UK Radio Academy's Hall of Fame."
An LP found in a charity shop the other day on the KOKO label from the 60's I would guess. Attracted by the sleeve art which really is the best thing about it. The music being fairly mild exotica and not in the same league as Arthur Lyman etc. Seems designed mainly to test your new Hi-Fi system.
Tracks are -
1. Brazil 2, Taboo 3. La Machida 4. The Breeze and I 5. Malaguena 6. Mama Inez